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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,26,56,29,28,57,58,59,60,61,62,63,35,64,65,36,66,67,32,68,69,70,71,7,72,73],"界画","人物","楼阁","小桥","流水","船","马","牛","街市","店铺","城墙","车","码头","货船","行人","商贩","道路","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,78],"水墨画精选",8462,106,{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":97,"material":98,"size":99,"collection":100,"collections":101,"showCount":102,"zanCount":103,"manualWeight":11,"mainColor":104},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","明","沈周","上海博物馆","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,24,25,26,90,28,30,59,60,91,92,35,93,7,94,95,96],"水墨","孤舟","亭","山石","皴法","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","纸本,设色","31.6x348","山水画精选",[100],7463,45,"BDBDBD",{"id":106,"slug":107,"title":108,"dynasty":85,"author":109,"museum":110,"description":111,"tags":112,"thumbUrl":117,"material":118,"size":119,"collection":120,"collections":121,"showCount":122,"zanCount":123,"manualWeight":11,"mainColor":124},222601,"qiu-shan-yu-yin-tu-lan-ying-222601","秋山渔隐图","蓝瑛","天津博物馆","绘乡间田园景色，远处山峰高耸，山脚下农舍排列整齐，栅栏四周树木环绕；近处河面上二只棚船停泊，船尾两人对坐而谈；岸上古木黝黑挺直，深秋季节中树叶凋零。纵观整幅，山水人家，古木船只，皆赋诗情画意。",[23,24,28,30,94,113,114,91,57,93,7,60,115,116],"枯树","老树","渔乐","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc1ad696df861ebcdfbf4523c6d8135.jpg","纸本，设色","139.5x45cm","",[],1533,13,"F48FB1",{"id":126,"slug":127,"title":128,"dynasty":129,"author":130,"museum":20,"description":131,"tags":132,"thumbUrl":141,"material":142,"size":120,"collection":120,"collections":143,"showCount":144,"zanCount":145,"manualWeight":11,"mainColor":104},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","清","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,25,26,133,90,28,30,94,95,96,93,35,60,59,92,7,134,57,135,136,137,138,139,140],"临摹","远山","溪流","峭壁","茅屋","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,6,{"id":147,"slug":148,"title":149,"dynasty":18,"author":150,"museum":151,"description":152,"tags":153,"thumbUrl":157,"material":158,"size":159,"collection":44,"collections":160,"showCount":161,"zanCount":162,"manualWeight":11,"mainColor":48},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","美国克利夫兰艺术博物馆","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,154,24,25,26,90,28,94,30,57,58,59,60,35,92,155,7,156],"名画","田园","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[44],1013,9,{"id":164,"slug":165,"title":166,"dynasty":129,"author":167,"museum":20,"description":168,"tags":169,"thumbUrl":171,"material":172,"size":173,"collection":100,"collections":174,"showCount":175,"zanCount":176,"manualWeight":11,"mainColor":104},218485,"fu-chun-shan-ju-tu-wang-yuan-qi-218485","富春山居图","王原祁","这幅画创作于康熙三十二年（1693年），52岁，仿照元代绘画大师黄公望的名作《富春山居图》的笔法。在这次模仿中，他从容不迫地运用了皴法、擦法和点法，特别是在用笔用墨方面，先用笔后用墨，染色由淡到浓逐渐增加，最后以焦墨破之，给人以沉重之感。",[23,24,90,94,95,170,30,60,35,93,7],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9a0c62b860f5eddbc70949a88e933.jpg","纸本,水墨","98.8x60.1cm",[100],880,8,{"id":178,"slug":179,"title":180,"dynasty":18,"author":181,"museum":20,"description":182,"tags":183,"thumbUrl":185,"material":186,"size":187,"collection":42,"collections":188,"showCount":189,"zanCount":190,"manualWeight":11,"mainColor":48},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,26,27,28,29,94,30,59,60,92,35,184,7],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","绢本设色","24cmx254cm",[42,100,45],840,12,{"id":192,"slug":193,"title":194,"dynasty":85,"author":86,"museum":195,"description":196,"tags":197,"thumbUrl":201,"material":158,"size":202,"collection":100,"collections":203,"showCount":204,"zanCount":205,"manualWeight":11,"mainColor":48},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","南京博物院","沈周（1427—1509），字启南，号石田，自称白石翁，江苏苏州人。山水少承家法，凡宋元名手，皆能变化出入，而独于董源、巨然、李成尤得心印。中年以黄公望为宗，晚乃醉心吴镇、倪瓒。四十以前画盈尺小景，四十后始拓为大幅。其画以水墨山水为艺林绝品，浅绛者次之，其大设色者尤妙，但存世稀少。人物、花鸟，无一不入神品。本幅即为仿倪之作，笔法遒劲，风格萧疏。",[24,25,198,90,94,95,170,30,199,200,93,7,60,113],"立轴","树","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","纵116.6厘米 横28.8厘米",[100],708,4,{"id":207,"slug":208,"title":209,"dynasty":210,"author":211,"museum":212,"description":213,"tags":214,"thumbUrl":219,"material":120,"size":120,"collection":120,"collections":220,"showCount":221,"zanCount":190,"manualWeight":11,"mainColor":104},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","元","赵孟頫","藏地不详","鹊华秋色图，元代画家 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《 》。",[24,25,26,28,90,94,170,96,95,30,215,199,7,32,34,216,217,218],"山","芦苇","村落","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":223,"slug":224,"title":225,"dynasty":85,"author":86,"museum":226,"description":227,"tags":228,"thumbUrl":230,"material":231,"size":232,"collection":100,"collections":233,"showCount":234,"zanCount":205,"manualWeight":11,"mainColor":48},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","私人收藏","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[154,24,25,198,90,94,133,30,93,35,7,59,60,229,134],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","绢本,设色","182x69.5cm",[100],606,{"id":236,"slug":237,"title":238,"dynasty":210,"author":239,"museum":20,"description":240,"tags":241,"thumbUrl":242,"material":243,"size":244,"collection":100,"collections":245,"showCount":246,"zanCount":247,"manualWeight":11,"mainColor":104},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","王蒙","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,25,198,90,94,30,35,93,60,37,7,170,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纸本，墨笔","纵118.1厘米，横36.2厘米",[100,78],552,2,{"id":249,"slug":250,"title":251,"dynasty":129,"author":252,"museum":87,"description":253,"tags":254,"thumbUrl":256,"material":172,"size":257,"collection":100,"collections":258,"showCount":259,"zanCount":260,"manualWeight":11,"mainColor":48},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","石涛","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,24,90,94,198,30,229,255,93,7,60,35],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[100,78],469,3,{"id":262,"slug":263,"title":264,"dynasty":85,"author":265,"museum":266,"description":267,"tags":268,"thumbUrl":271,"material":172,"size":272,"collection":100,"collections":273,"showCount":274,"zanCount":205,"manualWeight":11,"mainColor":104},214297,"kan-shu-tu-wang-fu-214297","勘书图","王绂","台北故宫博物院","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[23,24,198,30,90,94,215,269,199,270,59,7],"水","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[100],468,{"id":276,"slug":277,"title":278,"dynasty":210,"author":279,"museum":195,"description":280,"tags":281,"thumbUrl":283,"material":172,"size":284,"collection":100,"collections":285,"showCount":286,"zanCount":287,"manualWeight":11,"mainColor":104},218260,"shui-ge-qing-you-tu-huang-gong-wang-218260","水阁清幽图","黄公望","《水阁清幽图》画的是深山隐居之景。整幅画可分为远近两部分，景物以云气间隔。近景描绘一山间溪流从远处密林中涓涓而来，溪口有三座房子，房前有平台。溪流两岸，坡石层叠，树木成林，葱郁茂盛。山谷之间，云气弥漫，其后远景中一主峰耸立，形状如蹲似踞，两旁低峰回护，前伸山顶平台，使远近之景相互呼应。\n《水阁清幽图》画面右上角署款“大痴道人平阳黄公望画于云间客舍，时年八秩有一”，钤“黄氏子久”白文方印和“一峰道人”朱文方印。画面右侧另钤有梁清标“苍岩子”“蕉林居士”鉴藏印，右上有王时敏“西田”朱文印和王撰“颛菴”印及“董光裕印”白文方印各一枚。",[24,25,90,94,198,30,215,269,35,282,7,60],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25bba667d059525d84d5bfdaa9f9e2d.jpg","纵104.5厘米，横67.3厘米",[100],421,5,{"id":289,"slug":290,"title":291,"dynasty":210,"author":239,"museum":20,"description":292,"tags":293,"thumbUrl":295,"material":118,"size":296,"collection":100,"collections":297,"showCount":298,"zanCount":247,"manualWeight":11,"mainColor":104},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,154,24,25,198,28,94,30,57,62,63,59,60,255,270,294,7,170],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[100,45],385,{"id":300,"slug":301,"title":302,"dynasty":18,"author":53,"museum":212,"description":303,"tags":304,"thumbUrl":308,"material":120,"size":120,"collection":120,"collections":309,"showCount":310,"zanCount":260,"manualWeight":11,"mainColor":48},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 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青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,26,90,28,30,92,425,199,60,170,95,96,7,93,521],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":526,"slug":527,"title":528,"dynasty":85,"author":469,"museum":529,"description":530,"tags":531,"thumbUrl":532,"material":381,"size":533,"collection":100,"collections":534,"showCount":535,"zanCount":11,"manualWeight":11,"mainColor":120},220755,"fang-ge-jia-shan-shui-tu-ce-dong-qi-chang-220755","仿各家山水图册","香港中文大学文物馆","此作用笔松秀虚灵，以淡墨勾勒山峦，披麻皴浅敷石面，远岫连绵错落，间以茂林点缀，烟气空濛间漾出幽远静谧。\n\n近岸古木虬曲，枝干舒展如篆籀笔法，木叶疏密得宜，衬出院舍茅庐隐于林间，板桥卧波轻接水岸，野趣悠然。全画以简驭繁，笔墨间带着萧散简远的韵致，淡墨轻岚间尽显平淡天真的文人意趣，简淡中藏雄浑气韵，尽显文人山水的清逸格调。",[23,24,25,381,90,94,133,30,114,59,60,93,7,35,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ce2531c6f731b92b3d70dff3ad849.jpg","30.5 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23.8厘米",[100],198,{"id":537,"slug":538,"title":539,"dynasty":18,"author":181,"museum":540,"description":541,"tags":542,"thumbUrl":545,"material":186,"size":546,"collection":42,"collections":547,"showCount":548,"zanCount":260,"manualWeight":11,"mainColor":48},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","美国大都会艺术博物馆","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,154,25,26,29,94,90,30,543,113,93,7,32,91,544,57],"雪","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[42,100,45],191,{"id":550,"slug":551,"title":552,"dynasty":129,"author":553,"museum":422,"description":554,"tags":555,"thumbUrl":557,"material":231,"size":558,"collection":120,"collections":559,"showCount":560,"zanCount":11,"manualWeight":11,"mainColor":48},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2","王云","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,25,30,28,29,94,93,113,92,58,556,35,7],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg","纵54厘米，横129.5厘米",[],183,{"id":562,"slug":563,"title":564,"dynasty":18,"author":53,"museum":20,"description":54,"tags":565,"thumbUrl":567,"material":75,"size":76,"collection":120,"collections":568,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,154,24,25,26,29,56,28,57,58,59,60,61,62,63,199,64,306,7,32,36,566,70,348,351,66],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],{"id":570,"slug":571,"title":572,"dynasty":85,"author":86,"museum":212,"description":573,"tags":574,"thumbUrl":575,"material":120,"size":120,"collection":120,"collections":576,"showCount":577,"zanCount":385,"manualWeight":11,"mainColor":104},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,85,24,25,26,28,90,94,30,200,7,35,93,59,60,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":579,"slug":580,"title":581,"dynasty":129,"author":582,"museum":195,"description":583,"tags":584,"thumbUrl":585,"material":370,"size":586,"collection":100,"collections":587,"showCount":588,"zanCount":385,"manualWeight":11,"mainColor":48},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","龚贤","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 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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。",[672,673,35,7,648,72,674,675,676],"油画","后印象派","蓝天","飞鸟","乡村景致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd1697763f7389fe0ac2c3774b8b3fb.jpg","未知","Xcm*Xcm","油画精选",[680],152,"2A56C6",{"id":685,"slug":686,"title":687,"dynasty":129,"author":688,"museum":689,"description":690,"tags":691,"thumbUrl":692,"material":172,"size":693,"collection":100,"collections":694,"showCount":682,"zanCount":385,"manualWeight":11,"mainColor":104},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏","大英博物馆","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,90,198,133,94,30,59,60,35,93,229,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[100],{"id":696,"slug":697,"title":698,"dynasty":129,"author":688,"museum":110,"description":699,"tags":700,"thumbUrl":701,"material":98,"size":702,"collection":100,"collections":703,"showCount":704,"zanCount":385,"manualWeight":11,"mainColor":48},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[23,24,28,27,30,133,94,59,60,35,184,7,93,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg","22.5x27.5",[100],151,{"id":706,"slug":707,"title":708,"dynasty":18,"author":709,"museum":446,"description":710,"tags":711,"thumbUrl":712,"material":172,"size":713,"collection":100,"collections":714,"showCount":715,"zanCount":385,"manualWeight":11,"mainColor":48},218609,"shan-ju-xiao-si-tu-li-cheng-218609","山居萧寺图","李成","积雪覆峦，寒林瘦劲，蟹爪枝如墨线垂曳，勾连起冬日山野的清寂。山间茅舍隐现，古寺檐角微露，溪流凝冰，石径蜿蜒，似藏着隐士的幽居岁月。笔墨苍劲中透着秀逸，卷云皴晕染出山峦肌理，留白处漾着雪意空濛。整体意境悠远淡远，尽显北宋山水的空灵与哲思，仿佛能听见林梢风过，窥见文人胸次里的丘壑万千。",[24,198,30,90,94,93,35,351,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ad420f8495b67d554fa9e28bec96d.jpg","127.3x63.7cm",[100],150,{"id":717,"slug":718,"title":719,"dynasty":210,"author":720,"museum":266,"description":721,"tags":722,"thumbUrl":724,"material":172,"size":725,"collection":100,"collections":726,"showCount":727,"zanCount":385,"manualWeight":11,"mainColor":104},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","倪瓒","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[24,25,198,90,94,30,35,723,269,7,170],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[100,78],144,{"id":729,"slug":730,"title":731,"dynasty":129,"author":732,"museum":20,"description":733,"tags":734,"thumbUrl":735,"material":231,"size":736,"collection":100,"collections":737,"showCount":727,"zanCount":247,"manualWeight":11,"mainColor":338},219222,"qing-lv-shan-shui-tu-xie-sun-219222","青绿山水图","谢荪","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,25,27,28,30,35,93,60,58,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[100],{"id":739,"slug":740,"title":741,"dynasty":18,"author":635,"museum":266,"description":742,"tags":743,"thumbUrl":744,"material":90,"size":745,"collection":78,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":48},219305,"xue-jing-tu-ma-yuan-219305","雪景图","寒江凝碧，积雪封峦。斧劈皴笔力劲挺，岩骨嶙峋间覆雪如素缟，勾勒出山川冷峻骨相。山间屋舍隐于松竹，窗棂似映暖光，与屋外冰清玉洁相映成趣。枯树虬枝盘结，苍松傲立雪中，墨色浓淡间藏生机。远处小径偶有人影，江畔一舟独泊，孤影横斜，更添天地清寂。边角取景拓深意境，雪景素净与笔墨苍劲交融，绘尽寒冬凛冽，又藏文人幽居雅韵，冷寂中透着温润生机，尽显山水之魂。",[24,25,90,94,198,30,556,7,35,270,91,113,134,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc179aedb48ce076562be32fe7e077397.jpg","163.3x82.4厘米",[78],142,{"id":749,"slug":750,"title":751,"dynasty":210,"author":211,"museum":266,"description":752,"tags":753,"thumbUrl":755,"material":370,"size":756,"collection":120,"collections":757,"showCount":758,"zanCount":247,"manualWeight":11,"mainColor":48},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《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。",[23,24,25,26,90,28,30,35,754,32,7,96,95,170,94,154],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":760,"slug":761,"title":762,"dynasty":129,"author":167,"museum":20,"description":763,"tags":764,"thumbUrl":766,"material":172,"size":767,"collection":100,"collections":768,"showCount":758,"zanCount":11,"manualWeight":11,"mainColor":104},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,24,90,94,133,198,30,93,35,32,7,765,170],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[100],{"id":770,"slug":771,"title":772,"dynasty":129,"author":773,"museum":212,"description":774,"tags":775,"thumbUrl":776,"material":777,"size":778,"collection":100,"collections":779,"showCount":780,"zanCount":11,"manualWeight":11,"mainColor":104},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","髡残","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,90,28,94,198,30,93,35,7,59,60,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纸本设色","纵113CM 横50CM",[100,78],135,{"id":782,"slug":783,"title":784,"dynasty":18,"author":496,"museum":266,"description":785,"tags":786,"thumbUrl":787,"material":788,"size":789,"collection":42,"collections":790,"showCount":780,"zanCount":11,"manualWeight":11,"mainColor":48},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,24,595,198,94,90,30,543,91,59,113,7,93,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","绢","194.3×111.1",[42,100,78],{"id":792,"slug":793,"title":794,"dynasty":129,"author":390,"museum":20,"description":795,"tags":796,"thumbUrl":799,"material":40,"size":800,"collection":120,"collections":801,"showCount":802,"zanCount":11,"manualWeight":11,"mainColor":48},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171","雍正十二月行乐图轴","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,28,29,56,30,57,58,156,797,93,92,60,35,798,7],"桃花","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg","纵188.2厘米，横102.2厘米",[],133,{"id":804,"slug":805,"title":806,"dynasty":129,"author":252,"museum":689,"description":807,"tags":808,"thumbUrl":810,"material":98,"size":811,"collection":120,"collections":812,"showCount":802,"zanCount":247,"manualWeight":11,"mainColor":104},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,90,94,381,30,58,199,93,7,134,37,351,113,156,809],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg","20.3x27.5cm",[],{"id":814,"slug":815,"title":816,"dynasty":129,"author":582,"museum":226,"description":817,"tags":818,"thumbUrl":820,"material":90,"size":821,"collection":100,"collections":822,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":48},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,24,25,198,90,94,30,819,93,35,7,37,60],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[100,78],132,{"id":825,"slug":826,"title":827,"dynasty":129,"author":828,"museum":829,"description":830,"tags":831,"thumbUrl":836,"material":777,"size":837,"collection":100,"collections":838,"showCount":839,"zanCount":11,"manualWeight":11,"mainColor":48},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","王翚","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。",[23,24,832,94,28,30,35,184,32,833,7,114,834,835],"仿古","渔舟","坡地","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[100,45],131,{"id":841,"slug":842,"title":843,"dynasty":129,"author":252,"museum":212,"description":844,"tags":845,"thumbUrl":846,"material":120,"size":120,"collection":100,"collections":847,"showCount":848,"zanCount":385,"manualWeight":11,"mainColor":104},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","原济山水图册","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[24,25,381,90,28,94,95,170,30,35,7,93,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[100],129,{"id":850,"slug":851,"title":852,"dynasty":129,"author":252,"museum":212,"description":853,"tags":854,"thumbUrl":856,"material":370,"size":857,"collection":100,"collections":858,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":104},233378,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233378","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,90,94,381,170,30,59,60,35,7,93,855],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af052cf182809b3d590f54883cbc337.jpg","纵24.6cm横17.6cm",[100,622],126,{"id":861,"slug":862,"title":863,"dynasty":129,"author":828,"museum":829,"description":864,"tags":865,"thumbUrl":870,"material":186,"size":871,"collection":120,"collections":872,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":48},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。",[23,24,25,832,28,94,30,59,60,91,114,866,7,184,867,868,869,63],"枯藤","杏花","春雨","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":874,"slug":875,"title":876,"dynasty":85,"author":877,"museum":266,"description":878,"tags":879,"thumbUrl":882,"material":231,"size":883,"collection":45,"collections":884,"showCount":859,"zanCount":385,"manualWeight":11,"mainColor":104},219445,"bai-yun-hong-shu-tu-guan-si-219445","白云红树图","关思","图绘山态云容，疏林茅屋。山作小青绿，树作无骨法，自言仿自赵孟頫，原画应该是赵子昂用唐人古意所作。",[24,25,198,28,94,30,880,881,35,93,37,7],"白云","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff525b318e6c156ebc050d824651a0d7b.jpg","129.3x50.5",[45],{"id":886,"slug":887,"title":888,"dynasty":85,"author":86,"museum":212,"description":889,"tags":890,"thumbUrl":894,"material":678,"size":679,"collection":120,"collections":895,"showCount":896,"zanCount":247,"manualWeight":11,"mainColor":104},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,154,24,891,26,30,472,94,95,96,170,93,35,7,60,91,92,134,892,893,675,59,866,114],"水墨画","近水","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":898,"slug":899,"title":900,"dynasty":901,"author":902,"museum":226,"description":903,"tags":904,"thumbUrl":908,"material":98,"size":909,"collection":100,"collections":910,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":104},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","民国","张大千","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,154,24,25,90,28,905,94,30,60,91,59,229,35,93,37,7,596,906,907],"写意","急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[100,45],123,{"id":913,"slug":914,"title":915,"dynasty":129,"author":688,"museum":110,"description":699,"tags":916,"thumbUrl":917,"material":98,"size":702,"collection":100,"collections":918,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":104},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作",[24,154,30,90,94,215,255,35,7,270,37,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg",[100],{"id":920,"slug":921,"title":922,"dynasty":210,"author":239,"museum":266,"description":923,"tags":924,"thumbUrl":927,"material":98,"size":928,"collection":100,"collections":929,"showCount":930,"zanCount":385,"manualWeight":11,"mainColor":48},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,24,25,198,90,30,94,925,926,59,60,35,93,57,7],"深林","叠嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[100,78],122,{"id":932,"slug":933,"title":843,"dynasty":129,"author":252,"museum":20,"description":934,"tags":935,"thumbUrl":936,"material":118,"size":937,"collection":100,"collections":938,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":104},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[154,24,25,381,28,90,94,30,199,57,7,134,892,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg","纵33.2cm，横22.8cm",[100,45],121,{"id":941,"slug":942,"title":943,"dynasty":85,"author":86,"museum":87,"description":944,"tags":945,"thumbUrl":948,"material":172,"size":949,"collection":100,"collections":950,"showCount":951,"zanCount":385,"manualWeight":11,"mainColor":104},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,25,26,90,94,30,946,947,93,35,92,60,91,7,113,59],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 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[23,24,25,26,90,133,96,95,94,170,30,184,35,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[100,78,452],{"id":1035,"slug":1036,"title":1037,"dynasty":85,"author":469,"museum":20,"description":1038,"tags":1039,"thumbUrl":1042,"material":370,"size":1043,"collection":100,"collections":1044,"showCount":1045,"zanCount":385,"manualWeight":11,"mainColor":104},220918,"shan-shui-ce-dong-qi-chang-220918","山水册","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,90,94,381,95,96,170,30,215,269,199,1040,116,7,1041,60],"石","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[100,78],108,{"id":1047,"slug":1048,"title":1049,"dynasty":129,"author":1050,"museum":1051,"description":1052,"tags":1053,"thumbUrl":1054,"material":98,"size":1055,"collection":100,"collections":1056,"showCount":1045,"zanCount":11,"manualWeight":11,"mainColor":104},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","辛辛那提艺术博物馆","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,25,154,198,28,27,94,30,255,59,57,7,93,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[100],{"id":1058,"slug":1059,"title":1060,"dynasty":18,"author":496,"museum":266,"description":1061,"tags":1062,"thumbUrl":1064,"material":356,"size":1065,"collection":42,"collections":1066,"showCount":1067,"zanCount":385,"manualWeight":11,"mainColor":48},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,26,30,94,90,184,35,113,59,60,91,1063,72,134,500,7],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[42,100,78],107,{"id":1069,"slug":1070,"title":1071,"dynasty":129,"author":688,"museum":266,"description":1072,"tags":1073,"thumbUrl":1074,"material":231,"size":1075,"collection":100,"collections":1076,"showCount":1077,"zanCount":11,"manualWeight":11,"mainColor":104},219653,"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[24,28,94,30,255,93,60,35,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[100],104,{"id":1079,"slug":1080,"title":1081,"dynasty":901,"author":1082,"museum":1083,"description":1084,"tags":1085,"thumbUrl":1086,"material":120,"size":120,"collection":120,"collections":1087,"showCount":1088,"zanCount":11,"manualWeight":11,"mainColor":104},220606,"song-shi-shan-shui-qi-bai-shi-220606","宋式山水","齐白石","Kyoto National Museum","这幅作品跳脱山水旧法，以斩截刚劲的线条将山峦拆解为方正硬朗的几何岩体，块面堆叠出雄浑厚重的山野气势，全无传统皴法的柔婉，自带稚拙刚健的力量感。\n浅勾淡染的云气柔化山石冷硬，山坳中隐现的屋舍晕开山居悠然意趣。下方枯林以极简枝桠舒展，疏清淡雅，与上部重峦形成疏密对照。\n它以全新造型重构山水意境，将笔墨的写意精神，融于现代感的视觉表达，于朴拙间开创出别具一格的山水新风貌。",[24,90,198,94,30,93,35,37,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9a3dc4e5e42b53615a5f03733ed05.jpg",[],102,{"id":1090,"slug":1091,"title":1092,"dynasty":85,"author":469,"museum":20,"description":1093,"tags":1094,"thumbUrl":1095,"material":243,"size":1096,"collection":100,"collections":1097,"showCount":1098,"zanCount":385,"manualWeight":11,"mainColor":104},220908,"mo-juan-chuan-yi-tu-dong-qi-chang-220908","《墨卷传衣图》","《董其昌墨卷传衣图轴》是明代画家董其昌创作的一幅水墨画。\n本幅自识：“己丑南宫墨卷五策，为好事者所藏，得岸上人袖以示予。\n风檐仓卒，书道殊劣，何烦碧纱笼袭之三十五年也。",[23,24,90,198,94,30,199,7,1040,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a079cbefa1eeb6917c512cd94e24bd.jpg","纵101.5厘米，横46.3厘米",[100,45],99,{"id":1100,"slug":1101,"title":1102,"dynasty":85,"author":469,"museum":20,"description":1103,"tags":1104,"thumbUrl":1105,"material":40,"size":1106,"collection":100,"collections":1107,"showCount":1108,"zanCount":385,"manualWeight":11,"mainColor":104},220942,"shan-shui-zhou-dong-qi-chang-220942","山水轴","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\n画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,90,94,198,30,92,113,229,93,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[100,78],98,{"id":1110,"slug":1111,"title":1112,"dynasty":85,"author":1113,"museum":110,"description":1114,"tags":1115,"thumbUrl":1117,"material":172,"size":120,"collection":452,"collections":1118,"showCount":1108,"zanCount":260,"manualWeight":11,"mainColor":104},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","文徵明","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[23,24,25,26,1116,95,90,94,30,35,7,32,184,170],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[452,78],{"id":1120,"slug":1121,"title":1122,"dynasty":129,"author":979,"museum":540,"description":1123,"tags":1124,"thumbUrl":1127,"material":98,"size":1128,"collection":120,"collections":1129,"showCount":1108,"zanCount":385,"manualWeight":11,"mainColor":104},216245,"jing-fu-si-qi-dong-jing-tu-12-qian-wei-cheng-216245","景敷四气冬景图-12","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n朵开月月映阶唇，带雪披风更可人。须识此花深易理，四时一气贯长春。甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆",[24,595,90,28,94,1125,330,7,270,1126,93],"雪山","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc995690cd5b9f284ba9e2c0b83cd22.jpg","21.9 × 30.2cm",[],{"id":1131,"slug":1132,"title":1133,"dynasty":325,"author":326,"museum":212,"description":1134,"tags":1135,"thumbUrl":1136,"material":120,"size":120,"collection":120,"collections":1137,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":48},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,25,154,198,90,94,30,35,59,60,7,57,93,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],96,{"id":1140,"slug":1141,"title":1142,"dynasty":901,"author":1143,"museum":1144,"description":1145,"tags":1146,"thumbUrl":1147,"material":1148,"size":120,"collection":120,"collections":1149,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":104},220577,"bin-hong-mo-miao-huang-bin-hong-220577","宾虹墨妙","黄宾虹","中央美术学院美术馆","这幅山水以双峰对峙构景，留白作水湾，山麓渔村茅舍错落，滩头枯木虬曲苍劲，水面扁舟轻泛，野逸之趣扑面而来。\n\n以焦墨积墨写山，皴擦点染间尽显山峦浑厚华滋，墨色浓淡相生，带着萧疏清寂的冬日况味，将山川静穆幽深藏于笔底。题款行书朴拙苍劲，与画面浑融一体，文人意趣尽显。整体意境清寂淡远，于简淡中见苍茫，寥寥数笔便勾勒出山水灵秀静谧，尽显水墨写意的通透韵致，藏着独有的山水襟怀。",[24,25,90,94,30,91,114,7,32,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdef6faf38959b0a429a84507d8f8ac0.jpg","墨笔设色、 纸本水墨",[],{"id":1151,"slug":1152,"title":1153,"dynasty":210,"author":239,"museum":266,"description":1154,"tags":1155,"thumbUrl":1157,"material":98,"size":1158,"collection":100,"collections":1159,"showCount":1160,"zanCount":385,"manualWeight":11,"mainColor":104},220806,"dong-shan-cao-tang-tu-wang-meng-220806","东山草堂图","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,90,28,94,30,35,255,93,351,135,184,7,1156,958,138],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[100,78],94,{"id":1162,"slug":1163,"title":1164,"dynasty":129,"author":1165,"museum":212,"description":1166,"tags":1167,"thumbUrl":1169,"material":678,"size":679,"collection":100,"collections":1170,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":104},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,25,198,56,28,29,94,30,58,7,35,93,675,60,1168,63],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[100],93,{"id":1173,"slug":1174,"title":1175,"dynasty":129,"author":1176,"museum":266,"description":1177,"tags":1178,"thumbUrl":1179,"material":231,"size":1180,"collection":44,"collections":1181,"showCount":1171,"zanCount":385,"manualWeight":11,"mainColor":338},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","仿宋院本金陵图","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,25,26,28,29,133,56,57,58,59,60,35,62,63,7,350,347,346,765,66,70,65,32,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[44,45],{"id":1183,"slug":1184,"title":1185,"dynasty":129,"author":828,"museum":212,"description":1186,"tags":1187,"thumbUrl":1188,"material":120,"size":120,"collection":100,"collections":1189,"showCount":1190,"zanCount":11,"manualWeight":11,"mainColor":104},235778,"ming-xian-ji-jin-ce-fang-guan-tong-shan-shui-ye-wang-hui-235778","名贤集锦册-仿关仝山水页","此作用笔追摹北派山水意趣，危峰崚嶒拔地而起，以硬朗繁复的皴法刻画岩壁肌理，将山石的苍劲厚重尽数铺展。山间古木虬曲错落，枝叶攒簇尽显苍郁生机。山坳处山居隐现，为雄奇冷峭的山水晕开一缕悠然烟火气，留白的溪山道途让画面疏密有致，暗合虚实相生之理。\n\n画作师法关仝却自存灵秀，把北宗山水的雄浑刚劲与南宗笔墨的秀润雅致相融，笔力苍劲不失隽秀，整幅画面静穆悠远，尽显林泉高致的文人雅趣，是师古而化的精妙之作。",[24,90,94,133,381,30,215,199,7,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4175456b66ebb696d2bb21cd59305c.jpg",[100],91,{"id":1192,"slug":1193,"title":1194,"dynasty":210,"author":239,"museum":266,"description":1195,"tags":1196,"thumbUrl":1198,"material":98,"size":1199,"collection":100,"collections":1200,"showCount":1201,"zanCount":385,"manualWeight":11,"mainColor":48},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[23,154,24,595,1197,28,94,30,270,35,1168,7,58,135],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 x 42.5cm",[100,45],90,{"id":1203,"slug":1204,"title":1205,"dynasty":85,"author":483,"museum":266,"description":1206,"tags":1207,"thumbUrl":1208,"material":231,"size":1209,"collection":100,"collections":1210,"showCount":1211,"zanCount":385,"manualWeight":11,"mainColor":48},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,25,30,90,94,543,215,35,113,7,67,62,270,170,596,32,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[100],89,{"id":1213,"slug":1214,"title":1215,"dynasty":210,"author":1216,"museum":87,"description":1217,"tags":1218,"thumbUrl":1219,"material":231,"size":1220,"collection":100,"collections":1221,"showCount":1222,"zanCount":247,"manualWeight":11,"mainColor":48},218274,"song-yin-ju-yin-tu-tang-di-218274","松阴聚饮图","唐棣","此图近景画河畔数棵长松高耸，树后露出数间茅屋。松荫下四位长者席地而坐，正举杯畅饮。旁有两人手捧壶盘侍候，一人抱矮案前来。对岸中景是古树茅舍。远景群山蜿蜒。图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。",[24,90,30,57,255,198,94,215,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4259c6c43bf240ae46222348c74993e.jpg","纵14.4厘米，横97.1厘米",[100],88,{"id":1224,"slug":1225,"title":1226,"dynasty":129,"author":252,"museum":20,"description":1227,"tags":1228,"thumbUrl":1232,"material":118,"size":1233,"collection":622,"collections":1234,"showCount":1235,"zanCount":11,"manualWeight":11,"mainColor":104},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[154,24,25,1229,1230,90,28,30,95,96,94,255,137,184,218,1231,57,93,7,138],"册页","清代","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[622,100,45],87,{"id":1237,"slug":1238,"title":1239,"dynasty":18,"author":1240,"museum":110,"description":1241,"tags":1242,"thumbUrl":1243,"material":231,"size":1244,"collection":44,"collections":1245,"showCount":1235,"zanCount":247,"manualWeight":11,"mainColor":48},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,154,24,25,26,29,28,56,94,57,58,30,35,62,92,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":1247,"slug":1248,"title":1249,"dynasty":129,"author":979,"museum":540,"description":1250,"tags":1251,"thumbUrl":1252,"material":98,"size":1128,"collection":120,"collections":1253,"showCount":1235,"zanCount":385,"manualWeight":11,"mainColor":104},216255,"jing-fu-si-qi-dong-jing-tu-5-qian-wei-cheng-216255","景敷四气冬景图-5","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n山意惟余枯树攅，云容欲雪涧收湍。溪轩坐者宜青目，但是高人定耐寒。钤印：澂观",[24,90,30,94,381,113,93,60,92,134,7,116,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb149e2e9f85b3297a5f5fc35e75adb1c.jpg",[],{"id":1255,"slug":1256,"title":1257,"dynasty":129,"author":1258,"museum":20,"description":1259,"tags":1260,"thumbUrl":1261,"material":1262,"size":120,"collection":100,"collections":1263,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":104},236909,"fang-dong-qi-chang-shan-shui-zhou-wang-jian-236909","仿董其昌山水轴","王鉴","王鉴（1598年－1677年），明末清初画家，“四王”之一。字元照，一字圆照，号湘碧，又号香庵主，江南太仓人。王世贞曾孙，王士骐之孙。 任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[154,24,25,198,90,94,133,30,184,35,255,270,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg","纸本水墨",[100,78],86,{"id":1266,"slug":1267,"title":1268,"dynasty":129,"author":252,"museum":20,"description":1269,"tags":1270,"thumbUrl":1273,"material":370,"size":1274,"collection":120,"collections":1275,"showCount":1264,"zanCount":247,"manualWeight":11,"mainColor":104},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","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。",[24,90,198,94,30,59,60,35,7,93,675,116,1271,1272,134,217,869,37],"垂柳","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":1277,"slug":1278,"title":1279,"dynasty":614,"author":1280,"museum":540,"description":1281,"tags":1282,"thumbUrl":1285,"material":356,"size":1286,"collection":120,"collections":1287,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":48},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","李昭道","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,24,27,28,26,29,30,1041,184,351,37,1283,35,7,1284],"岛屿","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 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197.4厘米",[],{"id":1289,"slug":1290,"title":1291,"dynasty":85,"author":1292,"museum":20,"description":1293,"tags":1294,"thumbUrl":1295,"material":118,"size":1296,"collection":100,"collections":1297,"showCount":1264,"zanCount":247,"manualWeight":11,"mainColor":1298},222028,"guan-shan-xing-lv-tu-dai-jin-222028","关山行旅图","戴进","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,24,90,94,30,59,60,199,93,7,63,62,92,1063,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[100,78],"FFFFFF",{"id":1300,"slug":1301,"title":1302,"dynasty":18,"author":1303,"museum":20,"description":1304,"tags":1305,"thumbUrl":1306,"material":28,"size":1307,"collection":42,"collections":1308,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":48},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","杨士贤","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,25,154,30,94,90,28,93,229,35,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[42,100,78],{"id":1310,"slug":1311,"title":1312,"dynasty":85,"author":469,"museum":446,"description":1313,"tags":1314,"thumbUrl":1315,"material":172,"size":1316,"collection":100,"collections":1317,"showCount":1264,"zanCount":385,"manualWeight":11,"mainColor":104},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[23,24,25,198,90,94,30,93,35,7,57,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[100],{"id":1319,"slug":1320,"title":1321,"dynasty":129,"author":1322,"museum":689,"description":1323,"tags":1324,"thumbUrl":1332,"material":231,"size":1333,"collection":44,"collections":1334,"showCount":1264,"zanCount":385,"manualWeight":11,"mainColor":104},219558,"chun-jie-mo-jing-tu-xu-ting-kun-219558","春节磨镜图","徐廷琨","深宅巷口寒梅初绽，年意漫溢在古雅院墙间。老匠人俯身转轴磨镜，铜轮轻转，正将镜面拭得锃亮。仕女携稚子围拢观望，孩童们或捧起面具把玩，或躲在朱门后探头窥看，更有小顽童踮脚逗趣，把岁朝的松弛鲜活尽数铺展。朱红楹联衬着素淡院墙，冷枝与暖色调相映，笔触细腻温婉，将市井年俗的温情揉进淡墨浅彩里，把巷陌间的年节烟火定格，晕开旧时光里独有的团圆暖意。",[23,24,28,29,198,57,1325,1326,1327,1328,1329,1330,7,723,1331],"老人","儿童","妇女","梅","对联","磨镜工具","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b293983689f1320abb018c4c354e19.jpg","53x109cm",[44,45],{"id":1336,"slug":1337,"title":1338,"dynasty":129,"author":1339,"museum":20,"description":1340,"tags":1341,"thumbUrl":1342,"material":231,"size":1343,"collection":100,"collections":1344,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":48},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,24,198,90,94,30,215,269,35,7,59,270,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[100],{"id":1346,"slug":1347,"title":1348,"dynasty":129,"author":390,"museum":212,"description":1349,"tags":1350,"thumbUrl":1351,"material":678,"size":679,"collection":120,"collections":1352,"showCount":1353,"zanCount":385,"manualWeight":11,"mainColor":48},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","仿仇英辋川图","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,26,27,28,30,133,29,94,184,35,37,32,7,765,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],85,{"id":1355,"slug":1356,"title":1357,"dynasty":85,"author":1358,"museum":266,"description":1359,"tags":1360,"thumbUrl":1361,"material":172,"size":1362,"collection":100,"collections":1363,"showCount":1353,"zanCount":11,"manualWeight":11,"mainColor":104},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","卞文瑜","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，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仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[154,24,25,381,90,133,94,30,59,60,35,93,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[100],{"id":1365,"slug":1366,"title":1367,"dynasty":129,"author":828,"museum":829,"description":830,"tags":1368,"thumbUrl":1371,"material":1372,"size":871,"collection":120,"collections":1373,"showCount":1374,"zanCount":11,"manualWeight":11,"mainColor":48},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧",[23,24,832,28,94,30,113,1369,1370,63,91,7,134,60,138],"平林","牧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg","纸本 设色",[],84,{"id":1376,"slug":1377,"title":1378,"dynasty":18,"author":1379,"museum":266,"description":1380,"tags":1381,"thumbUrl":1384,"material":231,"size":1385,"collection":42,"collections":1386,"showCount":1374,"zanCount":11,"manualWeight":11,"mainColor":338},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","江山雪霁图","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,154,24,595,1382,28,94,215,543,1383,7,35,330,93,58,566,556],"宋代","江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[42,100],{"id":1388,"slug":1389,"title":1390,"dynasty":18,"author":390,"museum":266,"description":1391,"tags":1392,"thumbUrl":1394,"material":356,"size":1395,"collection":42,"collections":1396,"showCount":1397,"zanCount":11,"manualWeight":11,"mainColor":48},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,25,198,28,30,94,215,543,1393,675,35,92,7,270,60],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[42,100,78],83,{"id":1399,"slug":1400,"title":1401,"dynasty":85,"author":1402,"museum":226,"description":1403,"tags":1404,"thumbUrl":1405,"material":172,"size":1406,"collection":100,"collections":1407,"showCount":1397,"zanCount":385,"manualWeight":11,"mainColor":48},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[24,25,90,30,94,37,58,92,91,7,35,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[100],{"id":1409,"slug":1410,"title":1411,"dynasty":129,"author":828,"museum":212,"description":1412,"tags":1413,"thumbUrl":1421,"material":120,"size":120,"collection":120,"collections":1422,"showCount":1423,"zanCount":385,"manualWeight":11,"mainColor":104},237592,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237592","王翚仿古山水册","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》。",[24,90,832,94,30,93,35,765,60,229,7,1229,1414,891,1415,1416,1417,1418,1419,1420],"传统山水","点染","山石皴擦","树木勾勒","山水意境","古典山水","水墨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f3e122c7aae29ed9eacddd5644f01b.jpg",[],82,{"id":1425,"slug":1426,"title":1037,"dynasty":85,"author":1113,"museum":20,"description":1427,"tags":1428,"thumbUrl":1429,"material":172,"size":1430,"collection":100,"collections":1431,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":104},218341,"shan-shui-ce-wen-zheng-ming-218341","此图左开为作者图，右开有其弟子周天球、陆师道、王穉登的应景题诗。\n根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,154,381,90,30,35,7,270,60,95,96,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78e6d4341e71339b18dae6e2a968838.jpg","28.5×15.8cm",[100],{"id":1433,"slug":1434,"title":1435,"dynasty":129,"author":1436,"museum":266,"description":1437,"tags":1438,"thumbUrl":1439,"material":98,"size":1440,"collection":44,"collections":1441,"showCount":1423,"zanCount":247,"manualWeight":11,"mainColor":104},216978,"yi-tao-tu-jin-ting-biao-216978","移桃图","金廷标","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[24,25,29,28,30,57,35,93,60,797,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[44,100],{"id":1443,"slug":1444,"title":1445,"dynasty":85,"author":645,"museum":212,"description":1446,"tags":1447,"thumbUrl":1449,"material":678,"size":679,"collection":120,"collections":1450,"showCount":1451,"zanCount":385,"manualWeight":11,"mainColor":48},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,154,24,25,26,30,28,94,133,184,35,7,1448,59,60,96,170],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],81,{"id":1453,"slug":1454,"title":1455,"dynasty":129,"author":688,"museum":20,"description":1456,"tags":1457,"thumbUrl":1458,"material":172,"size":1459,"collection":100,"collections":1460,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":104},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,154,24,25,198,90,94,472,30,215,35,7,37,60,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[100],{"id":1462,"slug":1463,"title":634,"dynasty":18,"author":1464,"museum":226,"description":1465,"tags":1466,"thumbUrl":1468,"material":231,"size":120,"collection":100,"collections":1469,"showCount":1451,"zanCount":385,"manualWeight":11,"mainColor":48},214826,"gui-zhuang-tu-li-xi-cheng-214826","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[23,24,25,1467,30,28,94,215,269,57,7,199,170],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[100],{"id":1471,"slug":1472,"title":1473,"dynasty":129,"author":1474,"museum":422,"description":1475,"tags":1476,"thumbUrl":1477,"material":172,"size":1478,"collection":100,"collections":1479,"showCount":1480,"zanCount":11,"manualWeight":11,"mainColor":104},214490,"cheng-fang-fang-gu-shan-shui-tu-cheng-fang-214490","程淓仿古山水图","程淓","清代程淓的仿古山水图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，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，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，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[23,24,90,832,94,198,30,35,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64344232495e911adda77560a5895256.jpg","28x17cm",[100],80,{"id":1482,"slug":1483,"title":1484,"dynasty":85,"author":1485,"museum":266,"description":1486,"tags":1487,"thumbUrl":1490,"material":370,"size":1491,"collection":622,"collections":1492,"showCount":1493,"zanCount":11,"manualWeight":11,"mainColor":104},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面","陈淳","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。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。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\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。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,154,24,25,1467,905,90,28,1488,1489,93,7,170,95],"花鸟","紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[622,45],79,{"id":1495,"slug":1496,"title":1497,"dynasty":18,"author":1498,"museum":1499,"description":1500,"tags":1501,"thumbUrl":1507,"material":356,"size":1508,"collection":42,"collections":1509,"showCount":1493,"zanCount":11,"manualWeight":11,"mainColor":48},221612,"can-zhi-tu-juan-liang-kai-221612","蚕织图卷","梁楷","黑龙江省博物馆","图描绘江浙一带的蚕织户自“腊月浴蚕”到“下机入箱”为止的养蚕、织帛的整个生产过程。该卷由二十四个场面组成，用长房贯穿，每个场面下有楷书小字，注明内容。全卷场面宏大，共绘七十四人，翁媪长幼，皆服宋装。图中人物的神态举止，惟妙惟肖，桑树、户牖、几席、蚕具、织具等，富有写真写实之风。",[23,24,26,29,28,56,57,1502,1503,156,7,35,1504,90,1505,1506],"织机","蚕桑","劳作","日用具","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5708c7869732c0eddc83d2007b004137.jpg","27.5x513",[42,44,45],{"id":1511,"slug":1512,"title":1513,"dynasty":210,"author":239,"museum":151,"description":1514,"tags":1515,"thumbUrl":1516,"material":98,"size":1517,"collection":44,"collections":1518,"showCount":1493,"zanCount":247,"manualWeight":11,"mainColor":48},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,24,25,90,94,30,215,255,114,7,59,60,116,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[44,45],{"id":1520,"slug":1521,"title":1522,"dynasty":129,"author":167,"museum":1523,"description":1524,"tags":1525,"thumbUrl":1531,"material":98,"size":1532,"collection":100,"collections":1533,"showCount":1493,"zanCount":11,"manualWeight":11,"mainColor":48},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","仿黄公望山水图","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。",[23,24,25,198,90,94,30,215,199,1272,59,60,7,37,93,1526,217,135,1527,1528,1529,1530],"古木","层岩","苔点","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[100],{"id":1535,"slug":1536,"title":1537,"dynasty":129,"author":402,"museum":212,"description":1538,"tags":1539,"thumbUrl":1540,"material":120,"size":120,"collection":120,"collections":1541,"showCount":1542,"zanCount":11,"manualWeight":11,"mainColor":104},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,154,381,90,30,94,59,113,93,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],78,{"id":1544,"slug":1545,"title":1546,"dynasty":668,"author":669,"museum":212,"description":670,"tags":1547,"thumbUrl":1555,"material":678,"size":679,"collection":680,"collections":1556,"showCount":1557,"zanCount":385,"manualWeight":11,"mainColor":48},225714,"bank-of-the-seine-may-july-fan-gao-225714","Bank of the Seine (May - July )",[672,673,1548,1549,1550,32,1551,35,7,57,1552,1553,1554],"笔触短促","色彩明快","光影表现","河岸","水面倒影","天空","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa5aea6f7e90ef3d990ca0daf88f722.jpg",[680],76,{"id":1559,"slug":1560,"title":1561,"dynasty":210,"author":315,"museum":20,"description":1562,"tags":1563,"thumbUrl":1564,"material":118,"size":1565,"collection":100,"collections":1566,"showCount":1557,"zanCount":385,"manualWeight":11,"mainColor":48},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,154,24,25,26,28,29,95,170,30,35,7,34,93,255,134,892,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[100,45],{"id":1568,"slug":1569,"title":1570,"dynasty":901,"author":1571,"museum":1572,"description":1573,"tags":1574,"thumbUrl":1575,"material":777,"size":120,"collection":120,"collections":1576,"showCount":1557,"zanCount":11,"manualWeight":11,"mainColor":104},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","中国现当代美术文献研究中心","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[23,24,28,94,905,30,229,135,7,1168,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],{"id":1578,"slug":1579,"title":1580,"dynasty":85,"author":469,"museum":266,"description":1581,"tags":1582,"thumbUrl":1584,"material":370,"size":1585,"collection":100,"collections":1586,"showCount":1587,"zanCount":11,"manualWeight":11,"mainColor":104},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。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\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\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，但不是模拟蹈袭，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\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。",[23,24,25,198,90,94,95,170,30,1583,880,35,7,93,32,37,134],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[100,78],75,{"id":1589,"slug":1590,"title":1591,"dynasty":668,"author":1592,"museum":151,"description":1593,"tags":1594,"thumbUrl":1595,"material":231,"size":1596,"collection":100,"collections":1597,"showCount":1587,"zanCount":11,"manualWeight":11,"mainColor":48},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","雪景山水图","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,24,198,90,94,30,543,215,269,35,7,91,723,135,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[100],{"id":1599,"slug":1600,"title":1601,"dynasty":210,"author":1602,"museum":266,"description":1603,"tags":1604,"thumbUrl":1605,"material":98,"size":1606,"collection":100,"collections":1607,"showCount":1587,"zanCount":287,"manualWeight":11,"mainColor":104},219010,"cai-ling-tu-zhao-yong-219010","采菱图","赵雍","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[23,24,90,28,94,95,170,30,255,93,7,35,835,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[100],{"id":1609,"slug":1610,"title":1611,"dynasty":614,"author":1612,"museum":212,"description":1613,"tags":1614,"thumbUrl":1615,"material":678,"size":679,"collection":120,"collections":1616,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":104},288361,"jiang-gan-xue-ji-tu-wang-wei-288361","江干雪霁图","王维","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,154,24,25,26,90,30,556,113,7,32,93,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18c80dfbf2d7b2f44a1ccaf36b3e7de.jpg",[],74,{"id":1619,"slug":1620,"title":1621,"dynasty":668,"author":669,"museum":212,"description":670,"tags":1622,"thumbUrl":1630,"material":678,"size":679,"collection":680,"collections":1631,"showCount":1617,"zanCount":247,"manualWeight":11,"mainColor":338},225713,"avenue-of-poplars-in-autumn-october-fan-gao-225713","Avenue of poplars in autumn (October - )",[672,673,1623,1624,1625,138,7,57,35,1626,1627,1628,1629],"秋天","白杨树","林荫道","光影","栅栏","色彩浓郁","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2365dd392564d9ae5188c6ce8b116d5.jpg",[680],{"id":1633,"slug":1634,"title":1635,"dynasty":85,"author":645,"museum":20,"description":1636,"tags":1637,"thumbUrl":1640,"material":40,"size":1641,"collection":120,"collections":1642,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":104},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,25,29,28,381,57,521,7,30,60,1554,1638,156,1639],"小孩","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg","每开纵41.4厘米，横33.8厘米",[],{"id":1644,"slug":1645,"title":1646,"dynasty":85,"author":469,"museum":829,"description":1647,"tags":1648,"thumbUrl":1649,"material":1650,"size":1651,"collection":100,"collections":1652,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":104},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","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。",[23,24,25,26,90,96,94,215,1041,35,7,217,135,134,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[100,78],{"id":1654,"slug":1655,"title":1656,"dynasty":129,"author":390,"museum":212,"description":1657,"tags":1658,"thumbUrl":1660,"material":120,"size":120,"collection":120,"collections":1661,"showCount":1662,"zanCount":11,"manualWeight":11,"mainColor":48},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,154,198,29,28,56,30,58,57,556,156,35,63,7,1659],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],73,{"id":1664,"slug":1665,"title":1666,"dynasty":18,"author":390,"museum":20,"description":1667,"tags":1668,"thumbUrl":1669,"material":1670,"size":1671,"collection":42,"collections":1672,"showCount":1662,"zanCount":11,"manualWeight":11,"mainColor":48},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,154,24,25,26,28,30,35,59,60,91,7,94,29,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","絹本設色","纵24.5厘米，横185.5厘米",[42,100,78],{"id":1674,"slug":1675,"title":1676,"dynasty":18,"author":181,"museum":20,"description":1677,"tags":1678,"thumbUrl":1679,"material":186,"size":1680,"collection":120,"collections":1681,"showCount":1682,"zanCount":247,"manualWeight":11,"mainColor":104},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[23,24,25,26,90,29,57,35,7,255,425,394,95,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],72,{"id":1684,"slug":1685,"title":377,"dynasty":129,"author":732,"museum":87,"description":1686,"tags":1687,"thumbUrl":1689,"material":231,"size":1690,"collection":100,"collections":1691,"showCount":1682,"zanCount":385,"manualWeight":11,"mainColor":104},219846,"shan-shui-tu-ce-xie-sun-219846","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,381,28,90,94,30,7,35,93,60,1688],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[100],{"id":1693,"slug":1694,"title":1102,"dynasty":85,"author":390,"museum":266,"description":1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mit Pferdewagen und Zug im Hintergrund",[672,673,1713,1714,648,1715,1716,7,35,72,1717,1718,1719,1720,1721],"厚涂","色彩鲜艳","马车","火车","农作物","红色屋顶","绿色田野","蓝色作物带","红色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae145fc6868a7a61712751a2cb0da98b.jpg",[680],70,"0D904F",{"id":1727,"slug":1728,"title":1729,"dynasty":210,"author":239,"museum":266,"description":1730,"tags":1731,"thumbUrl":1732,"material":1733,"size":1734,"collection":100,"collections":1735,"showCount":1724,"zanCount":11,"manualWeight":11,"mainColor":104},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,25,198,90,94,30,92,35,93,60,7,229,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[100,78],{"id":1737,"slug":1738,"title":1739,"dynasty":668,"author":669,"museum":212,"description":670,"tags":1740,"thumbUrl":1754,"material":678,"size":679,"collection":680,"collections":1755,"showCount":1756,"zanCount":385,"manualWeight":11,"mainColor":48},225733,"daubigny-s-garden-june-fan-gao-225733","Daubigny's garden (June - )",[672,673,1713,1629,1741,28,1742,1554,1743,35,7,1627,1744,1745,352,156,1746,1747,1748,155,1749,1750,1751,1752,1753],"色彩","花园","花卉","绿植","户外","白花","红花","蓝花","植物","花丛","绿色调","田园风光","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51956f5c386825806a76df15e92eff54.jpg",[680],68,{"id":1758,"slug":1759,"title":1760,"dynasty":210,"author":390,"museum":266,"description":1761,"tags":1762,"thumbUrl":1763,"material":1764,"size":120,"collection":100,"collections":1765,"showCount":1756,"zanCount":11,"manualWeight":11,"mainColor":338},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[23,24,595,133,94,28,556,93,113,60,7,134,473,255,135,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg","设色,绢本",[100],{"id":1767,"slug":1768,"title":1769,"dynasty":85,"author":1770,"museum":266,"description":1771,"tags":1772,"thumbUrl":1773,"material":1774,"size":1775,"collection":100,"collections":1776,"showCount":1777,"zanCount":385,"manualWeight":11,"mainColor":104},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,25,198,28,94,30,255,7,229,93,138,57,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","纸本浅设色","122.4x51.5厘米",[100,78],67,{"id":1779,"slug":1780,"title":1781,"dynasty":210,"author":1782,"museum":266,"description":1783,"tags":1784,"thumbUrl":1785,"material":172,"size":1786,"collection":100,"collections":1787,"showCount":1777,"zanCount":247,"manualWeight":11,"mainColor":48},218166,"shan-shui-tu-yu-wen-gong-liang-218166","山水图","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,24,25,198,90,94,30,93,35,60,59,7,229,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[100],{"id":1789,"slug":1790,"title":1791,"dynasty":129,"author":1339,"museum":266,"description":1792,"tags":1793,"thumbUrl":1796,"material":1797,"size":1798,"collection":100,"collections":1799,"showCount":1800,"zanCount":247,"manualWeight":11,"mainColor":48},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[23,24,26,27,28,30,215,1041,199,675,351,138,229,93,1794,7,38,1795,135],"石阶","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","白纸本","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[100],66,{"id":1802,"slug":1803,"title":1804,"dynasty":210,"author":1805,"museum":266,"description":1806,"tags":1807,"thumbUrl":1810,"material":1797,"size":1811,"collection":100,"collections":1812,"showCount":1800,"zanCount":11,"manualWeight":11,"mainColor":104},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","吴镇","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,25,26,90,30,94,96,1808,170,58,59,60,92,1809,35,7],"篆书","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[100,78],{"id":1814,"slug":1815,"title":1037,"dynasty":129,"author":582,"museum":20,"description":1816,"tags":1817,"thumbUrl":1819,"material":243,"size":1820,"collection":100,"collections":1821,"showCount":1822,"zanCount":385,"manualWeight":11,"mainColor":48},233970,"shan-shui-ce-gong-xian-233970","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,90,30,94,381,215,199,7,37,114,1818],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fe2dfc70ed8a77ffac3d0fb8c75a90.jpg","纵22.2厘米，横33.2厘米",[100],65,{"id":1824,"slug":1825,"title":1826,"dynasty":129,"author":773,"museum":20,"description":1827,"tags":1828,"thumbUrl":1829,"material":243,"size":1830,"collection":100,"collections":1831,"showCount":1822,"zanCount":385,"manualWeight":11,"mainColor":104},222666,"yu-xi-shan-gen-tu-zhou-kun-can-222666","雨洗山根图轴","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[23,24,25,198,90,94,30,35,7,91,60,93,138,114,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03932682651547307896f5d9c08b293b.jpg","纵103厘米，横59.9厘米",[100,78],{"id":1833,"slug":1834,"title":1835,"dynasty":18,"author":1836,"museum":266,"description":1837,"tags":1838,"thumbUrl":1839,"material":356,"size":1840,"collection":42,"collections":1841,"showCount":1842,"zanCount":11,"manualWeight":11,"mainColor":124},221378,"ying-shan-tu-juan-wang-shen-221378","赢山图卷","王诜","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[23,24,25,26,30,28,94,184,35,7,32,91,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[42,44,45],64,{"id":1844,"slug":1845,"title":1846,"dynasty":210,"author":720,"museum":266,"description":1847,"tags":1848,"thumbUrl":1854,"material":370,"size":1855,"collection":120,"collections":1856,"showCount":1857,"zanCount":385,"manualWeight":11,"mainColor":104},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。",[24,90,30,94,96,170,215,199,425,7,116,1849,1850,1851,1530,1852,1853,135,270],"平远构图","题款","枯笔","疏林","草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 厘米",[],63,{"id":1859,"slug":1860,"title":1861,"dynasty":129,"author":252,"museum":212,"description":1862,"tags":1863,"thumbUrl":1864,"material":120,"size":120,"collection":120,"collections":1865,"showCount":1857,"zanCount":385,"manualWeight":11,"mainColor":48},229000,"jiao-ye-mo-se-tu-ce-12-kai-shi-tao-229000","郊野墨色图册12开","《石涛花卉》是219年中国书店出版的图书，作者是孙棋。\n石涛是一位多才多艺的艺术家，善画山水，兼工墨竹、花卉、人物。\n他吸收传统文化的精髓，但不受传统精神束缚，反对墨守成规，敢于打破陈法，主张对绘画技法进行变革和创新，是中国绘画史上出类拔萃、屈指可数的人物之一。\n石涛精于花卉蔬果，尤其是传统的“四君子”题材的绘画。\n他在继承传统的基础上进行创新，花卉潇洒隽朗、天真烂漫、清气袭人，人物生拙古朴、别具一格。\n可以说，石涛开清代花鸟画之先河，在中国花鸟画史上有着不可替代的地位。\n着色花卉图册八帧 岷江春色图 花卉图册十二帧 细笔花卉图册十帧 山水花卉图册八帧 郊野墨色图册十二帧 苦瓜和尚书画册十二帧 人物花鸟图册八帧 陶渊明诗意图册十二帧 写枝山诗意图册十帧",[24,90,28,94,381,30,215,269,35,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a1d8a7dff20448467a31c175199486.jpg",[],{"id":1867,"slug":1868,"title":1869,"dynasty":85,"author":1870,"museum":266,"description":1871,"tags":1872,"thumbUrl":1874,"material":1797,"size":120,"collection":100,"collections":1875,"showCount":1857,"zanCount":247,"manualWeight":11,"mainColor":48},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,154,24,25,30,90,94,93,35,765,60,229,7,134,1873,28],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[100,78],{"id":1877,"slug":1878,"title":1879,"dynasty":901,"author":902,"museum":1880,"description":1881,"tags":1882,"thumbUrl":1883,"material":120,"size":120,"collection":120,"collections":1884,"showCount":1857,"zanCount":11,"manualWeight":11,"mainColor":104},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","Indianapolis Museum of Art at Newfields","以高远危崖呼应平阔水汀，淡赭晕开朝暮霞光，江雾轻笼天地。枯笔勾出崖石筋骨，焦墨点簇顶间林木，苍劲里暗含秀雅疏朗。水色留白晕染浅青，浅滩枯木枝桠清瘦，间缀浅红秋意，冷寂中晕开暖意。\n\n扁舟横斜汀渚，舟上人影简淡，尽显江湖散人的从容闲逸。整幅画笔简意足，将江乡清灵旷远融于淡墨轻色之间，淡而弥永，尽显萧散简远的文人林下风流。",[23,24,28,94,198,30,91,35,93,32,37,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":1886,"slug":1887,"title":1522,"dynasty":129,"author":167,"museum":1888,"description":1524,"tags":1889,"thumbUrl":1890,"material":98,"size":120,"collection":100,"collections":1891,"showCount":1857,"zanCount":11,"manualWeight":11,"mainColor":104},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","京都国立博物馆",[24,25,198,30,94,28,133,93,35,60,59,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[100],{"id":1893,"slug":1894,"title":1895,"dynasty":210,"author":390,"museum":266,"description":1896,"tags":1897,"thumbUrl":1898,"material":231,"size":1899,"collection":44,"collections":1900,"showCount":1857,"zanCount":385,"manualWeight":11,"mainColor":48},214667,"sui-chao-tu-yi-ming-214667","岁朝图","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,28,29,30,57,58,113,156,7,92,675,93,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[44],{"id":1902,"slug":1903,"title":1904,"dynasty":85,"author":469,"museum":266,"description":1905,"tags":1906,"thumbUrl":1907,"material":172,"size":120,"collection":100,"collections":1908,"showCount":1909,"zanCount":385,"manualWeight":11,"mainColor":104},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[24,25,381,90,94,95,30,31,35,7,270,138,184,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[100],62,{"id":1911,"slug":1912,"title":794,"dynasty":129,"author":390,"museum":20,"description":795,"tags":1913,"thumbUrl":1918,"material":40,"size":800,"collection":120,"collections":1919,"showCount":1920,"zanCount":11,"manualWeight":11,"mainColor":48},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168",[24,29,28,56,94,30,58,57,200,93,60,675,156,351,35,798,1914,1915,1916,7,1917],"石桥","人物活动","栏杆","竹丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg",[],61,{"id":1922,"slug":1923,"title":1924,"dynasty":129,"author":1925,"museum":20,"description":1926,"tags":1927,"thumbUrl":1928,"material":243,"size":1929,"collection":100,"collections":1930,"showCount":1920,"zanCount":11,"manualWeight":11,"mainColor":104},233870,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233870","西陂诗意图册","查士标","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,90,30,94,381,199,7,134,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2da2721f9dffe79fcc1e72526d712f.jpg","纵32.8cm，横52.8cm",[100,78],{"id":1932,"slug":1933,"title":1934,"dynasty":129,"author":1935,"museum":266,"description":1936,"tags":1937,"thumbUrl":1940,"material":186,"size":1941,"collection":100,"collections":1942,"showCount":1920,"zanCount":11,"manualWeight":11,"mainColor":48},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,154,24,29,28,56,1938,57,58,30,970,35,156,7,1939,1916,93,1659,351,1915],"中西合璧","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg","188.2*102.2cm",[100,45],{"id":1944,"slug":1945,"title":1946,"dynasty":129,"author":1947,"museum":87,"description":1948,"tags":1949,"thumbUrl":1950,"material":1951,"size":1952,"collection":100,"collections":1953,"showCount":1920,"zanCount":11,"manualWeight":11,"mainColor":104},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,25,26,90,28,94,30,215,269,35,93,7,91,60,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","设色纸本","26×455",[100,78],{"id":1955,"slug":1956,"title":1957,"dynasty":18,"author":390,"museum":87,"description":1958,"tags":1959,"thumbUrl":1960,"material":231,"size":1961,"collection":100,"collections":1962,"showCount":1920,"zanCount":11,"manualWeight":11,"mainColor":48},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","雪江归棹图","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,24,25,90,30,91,184,35,7,556,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[100],{"id":1964,"slug":1965,"title":1781,"dynasty":85,"author":1966,"museum":20,"description":1967,"tags":1968,"thumbUrl":1970,"material":98,"size":1971,"collection":100,"collections":1972,"showCount":1920,"zanCount":247,"manualWeight":11,"mainColor":104},218374,"shan-shui-tu-li-yong-chang-218374","李永昌","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,24,90,94,198,170,30,93,35,113,255,7,1969],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[100],{"id":1974,"slug":1975,"title":1976,"dynasty":85,"author":483,"museum":212,"description":1977,"tags":1978,"thumbUrl":1980,"material":678,"size":679,"collection":120,"collections":1981,"showCount":1982,"zanCount":385,"manualWeight":11,"mainColor":104},290852,"pin-cha-tu-zhou-tang-yin-290852","品茶图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[154,24,25,198,90,95,170,96,1116,30,57,113,93,7,1979],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],60,{"id":1984,"slug":1985,"title":1986,"dynasty":129,"author":1987,"museum":540,"description":1988,"tags":1989,"thumbUrl":1991,"material":1992,"size":1993,"collection":100,"collections":1994,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":48},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","山水图卷","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,25,26,90,28,30,94,215,269,32,91,255,7,270,134,1990],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 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—1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[154,24,25,198,595,28,30,58,59,60,92,35,7,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","63.7x31.8",[45],{"id":2071,"slug":2072,"title":2073,"dynasty":129,"author":252,"museum":212,"description":2074,"tags":2075,"thumbUrl":2078,"material":120,"size":120,"collection":120,"collections":2079,"showCount":2080,"zanCount":385,"manualWeight":11,"mainColor":104},228983,"tao-yuan-tu-shi-tao-228983","桃源图","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,25,26,28,30,90,94,184,37,217,7,35,675,60,138,2076,797,2077,135,134,1873,57],"人家","渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],57,{"id":2082,"slug":2083,"title":2084,"dynasty":129,"author":252,"museum":212,"description":2085,"tags":2086,"thumbUrl":2087,"material":120,"size":120,"collection":120,"collections":2088,"showCount":2080,"zanCount":11,"manualWeight":11,"mainColor":48},224529,"zi-yun-jing-kai-yi-zhi-yan-shi-tao-224529","自云荆开一支眼","此作用开合之法排布丘壑，左右双峰雄峙，清溪自幽谷蜿蜒而出，层层铺展山水景深。笔法师法自然却不拘成法，方折勾勒山石轮廓，皴擦间带出苍厚质感，以赭石晕染岩面、花青点染林木苔痕，冷暖色调交织晕融，让雄奇山势裹着清润秀逸。\n\n谷间山居隐于林麓，暗合幽栖林下的野逸意趣，题识与画面相映成趣，诗画共生。笔墨纵恣灵变，摆脱摹古桎梏，以己心观照山水，将丘壑藏于笔底，尽显洒脱疏朗的性灵意趣，是借山川写胸臆的佳构。",[23,24,25,30,28,94,93,35,7,170,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d708bf201803287d6fb36b1c9262a54.jpg",[],{"id":2090,"slug":2091,"title":1646,"dynasty":85,"author":469,"museum":829,"description":1647,"tags":2092,"thumbUrl":2094,"material":1262,"size":2095,"collection":100,"collections":2096,"showCount":2080,"zanCount":11,"manualWeight":11,"mainColor":104},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954",[23,24,25,26,90,94,96,95,170,30,1041,35,7,134,2093,135],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[100,78],{"id":2098,"slug":2099,"title":2100,"dynasty":18,"author":390,"museum":212,"description":2101,"tags":2102,"thumbUrl":2104,"material":678,"size":679,"collection":120,"collections":2105,"showCount":2106,"zanCount":11,"manualWeight":11,"mainColor":48},289612,"xi-shan-feng-yu-tu-yi-ming-289612","溪山风雨图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[1467,24,90,94,30,59,35,7,93,2103],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffdfa2a6cedea91853cef1edc824ba57.jpg",[],56,{"id":2108,"slug":2109,"title":2110,"dynasty":18,"author":2111,"museum":212,"description":2112,"tags":2113,"thumbUrl":2116,"material":678,"size":679,"collection":120,"collections":2117,"showCount":2106,"zanCount":11,"manualWeight":11,"mainColor":48},288243,"xue-tang-ke-hua-tu-xia-gui-288243","雪堂客话图","夏圭","此图描绘江南雪景，笔法苍劲浑厚，山石多用小斧劈破和短线条秃笔直破，从而取得了方硬奇峭，水墨苍润的艺术效果。",[23,154,24,90,595,556,91,7,113,330,32,94,2114,2115],"冬日","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd807fa2735ecdebe9ea2f7cddcb2e2.jpg",[],{"id":2119,"slug":2120,"title":2121,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":2124,"thumbUrl":2129,"material":678,"size":679,"collection":680,"collections":2130,"showCount":2106,"zanCount":11,"manualWeight":11,"mainColor":48},225933,"gardeners-house-at-antibes-1888-mo-nai-225933","Gardeners House at Antibes, 1888","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[2125,672,7,35,1744,1742,2126,1553,2127,1627,2128,1626,1549,1548],"印象派","海面","烟囱","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea2b0d57445229eae49e7021e17c2b4.jpg",[680],{"id":2132,"slug":2133,"title":2134,"dynasty":129,"author":2135,"museum":266,"description":2136,"tags":2137,"thumbUrl":2138,"material":172,"size":2139,"collection":100,"collections":2140,"showCount":2106,"zanCount":11,"manualWeight":11,"mainColor":104},218319,"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达","董邦达为清代画家，在山水题材上造诣颇深。他具有双重身份，不仅为朝廷命官，而且是一位颇有才气的画家。作为官员的董邦达，一生可谓仕途通达，早年高中进士，身为朝廷命官，平日忙于公务，作画只是董邦达的业余爱好。然而，董邦达具有绘画的天赋，尤其擅长山水画，名噪一时。",[24,90,595,94,133,93,35,7,32,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[100],{"id":2142,"slug":2143,"title":2144,"dynasty":129,"author":378,"museum":226,"description":2145,"tags":2146,"thumbUrl":2147,"material":98,"size":120,"collection":120,"collections":2148,"showCount":2106,"zanCount":11,"manualWeight":11,"mainColor":104},214368,"tian-guang-yun-jing-tu-ce-zhu-da-214368","天光云景图册","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,25,381,90,30,35,7,116,675,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfec1f032a3c376c5af72892319e611.jpg",[],{"id":2150,"slug":2151,"title":2152,"dynasty":18,"author":709,"museum":212,"description":2153,"tags":2154,"thumbUrl":2156,"material":678,"size":679,"collection":120,"collections":2157,"showCount":2158,"zanCount":11,"manualWeight":11,"mainColor":48},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[154,24,25,198,90,595,94,556,1125,2155,113,7,60,330],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],55,{"id":2160,"slug":2161,"title":2162,"dynasty":129,"author":252,"museum":2163,"description":2164,"tags":2165,"thumbUrl":2166,"material":98,"size":120,"collection":100,"collections":2167,"showCount":2158,"zanCount":11,"manualWeight":11,"mainColor":104},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","日本大阪市立美术馆","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,381,28,90,30,95,96,94,905,215,269,199,7,92,59,60,57,116,114,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[100],{"id":2169,"slug":2170,"title":2171,"dynasty":85,"author":2172,"museum":829,"description":2173,"tags":2174,"thumbUrl":2176,"material":370,"size":2177,"collection":100,"collections":2178,"showCount":2179,"zanCount":385,"manualWeight":11,"mainColor":104},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,24,25,198,28,94,29,30,200,199,7,60,57,270,2021,138,2175],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[100,45],54,{"id":2181,"slug":2182,"title":2183,"dynasty":18,"author":2184,"museum":540,"description":2185,"tags":2186,"thumbUrl":2187,"material":186,"size":2188,"collection":42,"collections":2189,"showCount":2179,"zanCount":11,"manualWeight":11,"mainColor":48},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷","范宽","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,25,26,30,94,28,93,35,37,765,893,135,869,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg","40x603.3cm",[42,100,78],{"id":2191,"slug":2192,"title":2193,"dynasty":129,"author":2135,"museum":266,"description":2194,"tags":2195,"thumbUrl":2196,"material":172,"size":2197,"collection":100,"collections":2198,"showCount":2179,"zanCount":11,"manualWeight":11,"mainColor":104},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[24,25,154,198,90,94,30,59,60,92,57,63,199,200,7,134,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[100],{"id":2200,"slug":2201,"title":2202,"dynasty":85,"author":2203,"museum":266,"description":2204,"tags":2205,"thumbUrl":2206,"material":370,"size":2207,"collection":120,"collections":2208,"showCount":2209,"zanCount":11,"manualWeight":11,"mainColor":104},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","文徴明","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,26,25,96,90,30,35,93,7,59,60,675,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],53,{"id":2211,"slug":2212,"title":2213,"dynasty":129,"author":252,"museum":20,"description":1227,"tags":2214,"thumbUrl":2215,"material":118,"size":1233,"collection":120,"collections":2216,"showCount":2209,"zanCount":385,"manualWeight":11,"mainColor":104},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册",[24,25,381,90,28,96,95,30,35,7,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg",[],{"id":2218,"slug":2219,"title":2220,"dynasty":129,"author":828,"museum":212,"description":2221,"tags":2222,"thumbUrl":2223,"material":120,"size":120,"collection":120,"collections":2224,"showCount":2209,"zanCount":11,"manualWeight":11,"mainColor":104},224445,"fang-wang-meng-shan-shui-wang-hui-224445","仿王蒙山水","此作用笔繁密苍厚，以解索皴堆叠山峦，积墨反复晕染，层岩叠嶂尽显郁茂深秀，得古贤山水苍茫沉雄之韵。下方山居临溪而筑，堂内文士围坐清谈，溪桥畔仆役缓步而行，林泉间动静相映，晕染出萧散野逸的幽居意趣。题诗佐于左上，笔墨文心相融，既循古意，又自含灵秀笔致，将林泉高致的雅逸山居图景铺陈开来，尽释传统山水里的文人幽怀。",[23,24,25,198,90,94,30,93,35,7,59,60,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7404689f6258b3af226d1aefaddbcb2.jpg",[],{"id":2226,"slug":2227,"title":1986,"dynasty":85,"author":2228,"museum":422,"description":2229,"tags":2230,"thumbUrl":2231,"material":356,"size":2232,"collection":100,"collections":2233,"showCount":2209,"zanCount":385,"manualWeight":11,"mainColor":48},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,26,28,94,29,30,92,59,60,58,35,93,7,566,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[100,78],{"id":2235,"slug":2236,"title":2237,"dynasty":85,"author":469,"museum":20,"description":2238,"tags":2239,"thumbUrl":2240,"material":243,"size":1096,"collection":452,"collections":2241,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":104},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[24,25,198,90,94,154,30,215,199,7,32,34,723,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg",[452],52,{"id":2244,"slug":2245,"title":2246,"dynasty":129,"author":458,"museum":212,"description":2247,"tags":2248,"thumbUrl":2249,"material":678,"size":679,"collection":120,"collections":2250,"showCount":2251,"zanCount":385,"manualWeight":11,"mainColor":104},237148,"hong-ren-shan-shui-zhou-hong-ren-237148","弘仁山水轴","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”。",[24,154,198,90,94,30,7,425,35,93,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43ba76815e5b779027b07a80eaa2cd4.jpg",[],51,{"id":2253,"slug":2254,"title":1338,"dynasty":129,"author":688,"museum":20,"description":2255,"tags":2256,"thumbUrl":2257,"material":370,"size":2258,"collection":100,"collections":2259,"showCount":2251,"zanCount":11,"manualWeight":11,"mainColor":104},220349,"shan-shui-tu-zhou-wang-shi-min-220349","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[24,25,198,90,94,30,215,269,35,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a2667da6534125cad061d2aa34ff5d.jpg","纵135厘米,横63厘米",[100],{"id":2261,"slug":2262,"title":2263,"dynasty":85,"author":2264,"museum":266,"description":2265,"tags":2266,"thumbUrl":2267,"material":98,"size":2268,"collection":100,"collections":2269,"showCount":2251,"zanCount":11,"manualWeight":11,"mainColor":104},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏","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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！”",[23,24,25,26,90,94,30,215,269,35,7,217,72,134,1873,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[100,78],{"id":2398,"slug":2399,"title":1781,"dynasty":129,"author":2400,"museum":266,"description":2401,"tags":2402,"thumbUrl":2403,"material":90,"size":120,"collection":78,"collections":2404,"showCount":2364,"zanCount":11,"manualWeight":11,"mainColor":104},219380,"shan-shui-tu-wang-duo-219380","王铎","虬枝盘曲，墨色浓淡交织，似在风中低语。苍劲笔触勾勒树的骨节，枯笔皴擦间尽显老辣之态。背景山峦以淡墨晕染，层叠隐现于烟水之间，远处汀渚点点，归帆依稀。近树与远岫形成疏密对比，留白处见空灵，墨色浓处显沉厚。写意之笔将山水荒寒与悠远融于一纸，笔墨干湿变化中藏着对自然的静观哲思，简淡里见深致，苍莽中显清逸，仿佛能听见风穿枝桠的轻响，望见烟霭中山峦的呼吸，于方寸间铺展无尽悠远之境。",[24,25,198,90,30,113,134,7,332,116,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[78],{"id":2406,"slug":2407,"title":2408,"dynasty":129,"author":2409,"museum":212,"description":2410,"tags":2411,"thumbUrl":2412,"material":120,"size":120,"collection":100,"collections":2413,"showCount":2414,"zanCount":11,"manualWeight":11,"mainColor":104},238823,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238823","董诰墨庄览胜图册","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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。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[23,24,25,381,90,94,30,59,60,1272,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 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此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,24,25,198,90,28,94,30,35,93,32,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","绢本浅设色","12×48.7厘米",[100,45],{"id":2549,"slug":2550,"title":2551,"dynasty":85,"author":86,"museum":195,"description":2284,"tags":2552,"thumbUrl":2553,"material":370,"size":2554,"collection":120,"collections":2555,"showCount":2490,"zanCount":11,"manualWeight":11,"mainColor":104},220028,"dong-zhuang-tu-ce-zhi-mai-shan-shen-zhou-220028","东庄图册之麦山",[23,24,90,94,381,30,35,7,2327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0570bce3a0471b6a4cdf4fab5fb6e623.jpg","28.6cm×33cm",[],{"id":2557,"slug":2558,"title":2559,"dynasty":85,"author":483,"museum":689,"description":2560,"tags":2561,"thumbUrl":2562,"material":172,"size":2563,"collection":100,"collections":2564,"showCount":2490,"zanCount":11,"manualWeight":11,"mainColor":104},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[24,26,90,28,30,1853,35,7,34,134,94,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[100],{"id":2566,"slug":2567,"title":1522,"dynasty":85,"author":2568,"museum":226,"description":2569,"tags":2570,"thumbUrl":2571,"material":231,"size":2572,"collection":100,"collections":2573,"showCount":2490,"zanCount":385,"manualWeight":11,"mainColor":48},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[154,24,25,30,133,28,94,90,215,35,7,60,270,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[100],{"id":2575,"slug":2576,"title":2577,"dynasty":210,"author":390,"museum":87,"description":2578,"tags":2579,"thumbUrl":2581,"material":231,"size":2582,"collection":100,"collections":2583,"showCount":2490,"zanCount":11,"manualWeight":11,"mainColor":48},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[24,25,1467,90,28,30,35,7,57,2580,543,60,115,94],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[100],{"id":2585,"slug":2586,"title":2587,"dynasty":85,"author":2588,"museum":212,"description":2589,"tags":2590,"thumbUrl":2591,"material":678,"size":679,"collection":120,"collections":2592,"showCount":2593,"zanCount":385,"manualWeight":11,"mainColor":104},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[24,381,30,90,28,200,797,59,675,92,91,7,35,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],46,{"id":2595,"slug":2596,"title":1037,"dynasty":129,"author":2597,"museum":212,"description":2598,"tags":2599,"thumbUrl":2600,"material":120,"size":120,"collection":100,"collections":2601,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":104},238137,"shan-shui-ce-yun-xi-238137","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,28,30,94,381,113,7,59,60,93,33,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d89a59d4ebcdbd28b9133d9dda8babf.jpg",[100,45],{"id":2603,"slug":2604,"title":2605,"dynasty":210,"author":720,"museum":20,"description":2606,"tags":2607,"thumbUrl":2613,"material":1262,"size":2614,"collection":120,"collections":2615,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":48},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","《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。",[24,25,198,90,30,2608,2609,1530,2610,2611,113,7,93,60,2612,96,116],"干笔皴擦","留白","远岫","林亭","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纵87.3厘米，横31.4厘米",[],{"id":2617,"slug":2618,"title":2619,"dynasty":668,"author":390,"museum":212,"description":2620,"tags":2621,"thumbUrl":2622,"material":678,"size":679,"collection":120,"collections":2623,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":48},230546,"shan-shui-ping-feng-yi-ming-230546","山水屏风","泥金为底，石青石绿晕染出层叠丘壑，斑驳残损的绢面晕开岁月晕染的朦胧诗意。画面铺展开合间，远岫浮空，浅渚横陈，近岸疏林错落，将山野清趣与人间烟火揉为一体。\n\n林间隐着村居茅舍，有人正于门前流连；一侧道旁，行旅牵马暂歇，三两山客徐行林麓。没有枯寂的出世幽冷，反将隐逸山居的闲静与俗世行旅的暖意相融，笔致简淡却意韵悠长。古旧的肌理裹着山水古意，让丘壑烟岚与市井日常温柔相逢，漫溢出沉静古朴的雅致意趣。",[23,24,25,28,27,30,199,57,62,7,215,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],{"id":2625,"slug":2626,"title":2627,"dynasty":85,"author":86,"museum":195,"description":2284,"tags":2628,"thumbUrl":2629,"material":98,"size":2289,"collection":120,"collections":2630,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":48},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,24,25,381,90,94,30,59,60,91,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":2632,"slug":2633,"title":1781,"dynasty":85,"author":2264,"museum":2634,"description":2635,"tags":2636,"thumbUrl":2637,"material":2638,"size":120,"collection":100,"collections":2639,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":104},219099,"shan-shui-tu-zhang-hong-219099","昆仑堂美术馆","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,154,24,25,198,90,94,30,215,269,35,7,37,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[100],{"id":2641,"slug":2642,"title":2643,"dynasty":85,"author":469,"museum":20,"description":2644,"tags":2645,"thumbUrl":2646,"material":2647,"size":2648,"collection":120,"collections":2649,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":48},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,25,26,90,30,94,95,170,305,35,754,59,60,134,218,7,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":2651,"slug":2652,"title":2653,"dynasty":129,"author":828,"museum":212,"description":2654,"tags":2655,"thumbUrl":2659,"material":120,"size":120,"collection":120,"collections":2660,"showCount":103,"zanCount":385,"manualWeight":11,"mainColor":48},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，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。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,2656,28,94,90,29,2657,184,135,880,765,35,93,7,37,2658,351,229],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":2662,"slug":2663,"title":1781,"dynasty":18,"author":2184,"museum":266,"description":2664,"tags":2665,"thumbUrl":2666,"material":356,"size":2667,"collection":120,"collections":2668,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":104},221388,"shan-shui-tu-fan-kuan-221388","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,24,154,25,30,94,28,215,35,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c64cfa9031857b41416378a5e4b8cc.jpg","24.6x25.6",[],{"id":2670,"slug":2671,"title":2672,"dynasty":85,"author":469,"museum":20,"description":2673,"tags":2674,"thumbUrl":2675,"material":40,"size":2676,"collection":100,"collections":2677,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":48},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,24,25,198,90,28,94,96,170,30,93,35,7,134,473,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[100,78],{"id":2679,"slug":2680,"title":2681,"dynasty":129,"author":2682,"museum":266,"description":2683,"tags":2684,"thumbUrl":2685,"material":98,"size":2686,"collection":100,"collections":2687,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":104},214720,"chun-jiang-xing-zhou-yong-rong-214720","春江行舟","永瑢","《春江行舟图》是一幅画作，出自清代画家永瑢的手笔。这幅画描绘了一个人坐在小舟里悠然自得地漫游在春天的江水中。画中的人物身着传统的汉服，头戴轻便的草帽，手拿长矛，似乎是在寻找渔获。周围的景色十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[24,25,381,28,30,59,60,91,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455e3dd567e1a378f0c19d2d4d2cdf6.jpg","12.2×13.9cm",[100],{"id":2689,"slug":2690,"title":2691,"dynasty":85,"author":483,"museum":212,"description":2692,"tags":2693,"thumbUrl":2694,"material":120,"size":120,"collection":120,"collections":2695,"showCount":2696,"zanCount":11,"manualWeight":11,"mainColor":48},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,154,24,25,26,90,28,595,94,95,96,170,30,199,7,57,93,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],44,{"id":2698,"slug":2699,"title":2700,"dynasty":85,"author":2701,"museum":212,"description":2702,"tags":2703,"thumbUrl":2704,"material":2705,"size":2706,"collection":100,"collections":2707,"showCount":2696,"zanCount":11,"manualWeight":11,"mainColor":48},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","陈洪绶","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,24,198,90,28,94,30,92,199,113,255,270,60,134,116,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[100,45],{"id":2709,"slug":2710,"title":2711,"dynasty":129,"author":1339,"museum":20,"description":2712,"tags":2713,"thumbUrl":2714,"material":98,"size":2715,"collection":100,"collections":2716,"showCount":2696,"zanCount":11,"manualWeight":11,"mainColor":104},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,25,30,556,113,7,294,60,134,92,90,28,94,198,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[100],{"id":2718,"slug":2719,"title":2720,"dynasty":129,"author":1165,"museum":1018,"description":2721,"tags":2722,"thumbUrl":2723,"material":231,"size":2724,"collection":100,"collections":2725,"showCount":2696,"zanCount":385,"manualWeight":11,"mainColor":48},219907,"xue-shan-tu-yuan-jiang-219907","雪山图","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[24,595,28,94,1125,35,7,869,57,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[100],{"id":2727,"slug":2728,"title":2729,"dynasty":210,"author":2730,"museum":226,"description":2731,"tags":2732,"thumbUrl":2733,"material":172,"size":2734,"collection":100,"collections":2735,"showCount":2696,"zanCount":385,"manualWeight":11,"mainColor":104},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","方从义","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,154,24,25,26,90,30,94,170,96,184,37,35,765,135,134,892,136,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[100],{"id":2737,"slug":2738,"title":2739,"dynasty":129,"author":2740,"museum":226,"description":2741,"tags":2742,"thumbUrl":2743,"material":98,"size":2744,"collection":100,"collections":2745,"showCount":2696,"zanCount":11,"manualWeight":11,"mainColor":104},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,25,198,90,94,30,215,92,59,60,91,35,7,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[100],{"id":2747,"slug":2748,"title":2749,"dynasty":129,"author":1258,"museum":20,"description":2750,"tags":2751,"thumbUrl":2752,"material":142,"size":2753,"collection":100,"collections":2754,"showCount":2755,"zanCount":11,"manualWeight":11,"mainColor":104},236458,"dou-he-mi-lin-zhou-wang-jian-236458","陡壑密林轴","故宫博物院藏有康熙壬寅年（1662）年王鉴五十四岁作《陡壑密林图》轴，作品为纸本墨笔，纵56厘米，横35厘米。王鉴在画中自题：“黄子久有《陡壑密林图》为董思翁所藏，后归奉常烟翁，余时得纵观。雨窗岑寂，戏弄笔砚，漫师其法，不求形似也。壬寅小春望日写于染香庵中。王鉴。”下钤“王鉴之印”白文正方，起首钤“染香庵”朱文长方。画轴外题签：“廉州太守仿子久陡壑密林图山水真迹。辛丑三月重装。镂香阁惕庵珍秘。”为嘉兴王祖锡（1858－1908）旧物，画幅右下亦钤其鉴藏印：“惕安藏廉州画。”王祖锡藏有王鉴作品多件，如王鉴《溪山渔隐图》等。",[24,25,90,94,30,215,1040,199,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a7957963c9eb5d48d2effbd1e72a07.jpg","纵56厘米，横35厘米",[100,78,452],43,{"id":2757,"slug":2758,"title":2759,"dynasty":129,"author":688,"museum":20,"description":2760,"tags":2761,"thumbUrl":2762,"material":243,"size":2763,"collection":120,"collections":2764,"showCount":2755,"zanCount":11,"manualWeight":11,"mainColor":104},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","仙山楼阁图轴","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[24,25,198,30,58,35,31,135,7,90,94,93,134,473,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],{"id":2766,"slug":2767,"title":2768,"dynasty":129,"author":252,"museum":212,"description":2769,"tags":2770,"thumbUrl":2771,"material":120,"size":120,"collection":120,"collections":2772,"showCount":2755,"zanCount":11,"manualWeight":11,"mainColor":104},228978,"shan-shui-tu-ce-8-kai-zhang-da-qian-jiu-cang-shi-tao-228978","山水图册8开-张大千旧藏","此作笔墨简淡萧疏，以淡墨晕开远山，只留朦胧轮廓，似烟霭轻笼，清寂淡远之味扑面而来。近侧丘石以枯笔皴擦，朴拙苍厚，带着不加修饰的古雅意趣。坡岸林木尽褪繁叶，枝桠错落伸展，空寒疏朗间尽显秋冬的萧索清宁。临水茅舍三两间隐于石木之间，幽寂安闲，似藏着避世幽居的自在意趣。\n\n题句与四方朱印错落排布，诗书画印相融，为素淡画面晕开一抹朱红暖意。整幅以简驭繁，将空山新雨后的微茫清润藏在尺幅间，笔底漫着林下幽居的静穆悠然。",[24,90,94,381,30,113,7,93,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1034ecc6c707758e750317af7df068c0.jpg",[],{"id":2774,"slug":2775,"title":2776,"dynasty":210,"author":2777,"museum":212,"description":2778,"tags":2779,"thumbUrl":2781,"material":120,"size":120,"collection":120,"collections":2782,"showCount":2755,"zanCount":247,"manualWeight":11,"mainColor":104},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","朱德润","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[23,24,154,26,90,94,30,35,7,2780,134,892,96,170],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":2784,"slug":2785,"title":2786,"dynasty":668,"author":669,"museum":212,"description":670,"tags":2787,"thumbUrl":2794,"material":678,"size":679,"collection":680,"collections":2795,"showCount":2755,"zanCount":11,"manualWeight":11,"mainColor":48},225776,"les-vessenots-in-auvers-1890-fan-gao-225776","Les Vessenots in Auvers 1890",[672,673,2788,1714,2789,2790,648,2791,7,754,35,134,1553,135,1554,2792,2287,1744,2793],"笔触粗犷","设色明快","厚涂法","花田","山丘","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d96b48c7f50705bc820c7d8d46b723.jpg",[680],{"id":2797,"slug":2798,"title":2799,"dynasty":85,"author":2800,"museum":2801,"description":2802,"tags":2803,"thumbUrl":2805,"material":28,"size":2806,"collection":100,"collections":2807,"showCount":2755,"zanCount":11,"manualWeight":11,"mainColor":48},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴","周臣","美国普林斯顿大学美术馆","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,25,198,90,28,29,94,30,57,114,113,7,32,2804,138,170],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[100,78],{"id":2809,"slug":2810,"title":2811,"dynasty":129,"author":2812,"museum":2813,"description":2814,"tags":2815,"thumbUrl":2817,"material":172,"size":2818,"collection":100,"collections":2819,"showCount":2755,"zanCount":385,"manualWeight":11,"mainColor":104},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","萧云从","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,25,26,90,94,30,93,35,7,346,134,892,255,2816,37,1688,351,57],"丘壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[100],{"id":2821,"slug":2822,"title":2823,"dynasty":85,"author":2824,"museum":422,"description":2825,"tags":2826,"thumbUrl":2831,"material":231,"size":2832,"collection":100,"collections":2833,"showCount":2755,"zanCount":385,"manualWeight":11,"mainColor":48},220036,"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[23,24,154,90,30,198,59,60,1526,93,7,2827,95,2828,94,2829,2830],"深山","摹古","宗教","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[100],{"id":2835,"slug":2836,"title":1781,"dynasty":210,"author":2730,"museum":446,"description":2837,"tags":2838,"thumbUrl":2839,"material":172,"size":2840,"collection":100,"collections":2841,"showCount":2755,"zanCount":11,"manualWeight":11,"mainColor":48},219729,"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[23,24,25,198,90,94,30,215,1040,35,135,7,134,37,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[100],{"id":2843,"slug":2844,"title":2845,"dynasty":85,"author":2846,"museum":266,"description":2847,"tags":2848,"thumbUrl":2849,"material":28,"size":2850,"collection":44,"collections":2851,"showCount":2755,"zanCount":11,"manualWeight":11,"mainColor":104},219460,"dan-lin-cui-zhang-tu-lu-zhi-219460","丹林翠嶂图","陆治","本幅以狭长画面安排景物布局，桃树繁密，变化丰富。以尖细折线勾勒山石轮廓，用笔方劲，青绿敷染细致。惜因构图过于充塞，虽工细精道，略少自然之态。",[24,25,198,28,94,30,35,1168,93,7,57,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc15e51996325c5786e52bffb0c5e172.jpg","90.2x30.7",[44],{"id":2853,"slug":2854,"title":1037,"dynasty":129,"author":2855,"museum":266,"description":2856,"tags":2857,"thumbUrl":2858,"material":120,"size":120,"collection":100,"collections":2859,"showCount":2860,"zanCount":11,"manualWeight":11,"mainColor":104},238258,"shan-shui-ce-zhang-yan-238258","张演","此作以边角取景造境，右侧危岩迭起，苍松斜倚石畔，谷中云气漫漶，远山隐没于烟岚，虚实交织出清幽空蒙之态。左侧山居枕溪而卧，窗内幽人凭栏凝睇，坡岸佳木葱茏，一人策蹇缓行，野意悠然。\n\n设色清润雅致，山石勾勒细劲，浅赭与花青轻敷晕染，皴擦间尽显肌理质感。云水以留白晕化，愈衬山林阒寂。整体意境萧散淡远，以尺幅小景藏丘壑万千，将林泉幽居的闲逸之趣尽显无遗，笔墨温润秀雅，兼得元人山水的简旷与吴门画派的雅致风神。",[24,25,381,28,90,94,30,60,93,35,7,37,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2ed93952dff40ea52e2910d1c80cd3.jpg",[100,45],42,{"id":2862,"slug":2863,"title":2864,"dynasty":129,"author":2597,"museum":20,"description":2598,"tags":2865,"thumbUrl":2866,"material":120,"size":2867,"collection":100,"collections":2868,"showCount":2860,"zanCount":385,"manualWeight":11,"mainColor":48},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷",[23,154,24,25,26,28,94,30,215,269,37,35,7,34,893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[100,45],{"id":2870,"slug":2871,"title":2872,"dynasty":85,"author":390,"museum":212,"description":2873,"tags":2874,"thumbUrl":2875,"material":678,"size":679,"collection":120,"collections":2876,"showCount":2860,"zanCount":11,"manualWeight":11,"mainColor":48},235656,"tang-yin-qian-tang-jing-wu-tu-zhou-yi-ming-235656","唐寅钱塘景物图轴","此作用斧劈皴写山石嶙峋风骨，层崖迭起取高远之境，硬朗苍劲尽显北派山水雄健气势。山坳林麓间村居错落隐现，青树蓊郁晕染江南温润意趣，刚柔相济，将浙派纵肆与吴门隽秀相融。\n左侧题诗与画景相映，把秋郊钱塘的清寂萧疏铺陈开来，山野幽居的闲逸之态藏于奇峰之间，笔意追摹前人，绘就秋日江乡澹远沉静的逸致，尽显明人山水抒情写意的雅致格调。",[24,25,198,90,94,30,58,59,60,116,92,675,114,93,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11a22516543afdb44def938b072f17f.jpg",[],{"id":2878,"slug":2879,"title":2880,"dynasty":18,"author":2881,"museum":212,"description":2882,"tags":2883,"thumbUrl":2884,"material":120,"size":120,"collection":120,"collections":2885,"showCount":2860,"zanCount":11,"manualWeight":11,"mainColor":48},230968,"yun-shan-die-cui-tu-zhou-mi-fei-230968","云山叠翠图轴","米芾","此作用水墨晕染摹写江南烟峦，以米点皴晕出山麓林泽的苍润郁茂。层叠峰岫在流荡的云雾中半隐半现，虚实交错间晕开空濛幽远的氤氲之气，将江南烟雨的朦胧柔婉尽显。\n下方平林村居，屋舍错落清溪蜿蜒，林木苍黑如黛，山野的静谧闲适扑面而来。全画脱却工细刻画，笔墨简淡随性，以氤氲水墨营造出如梦似幻的烟岚世界，将自然山水的灵秀与文人写意的雅趣相融，传递出悠然淡远的山居意趣，尽显水墨山水空濛雅致的独特风韵。",[23,154,24,25,198,90,94,30,1041,215,92,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a45a3b012870db385d33969b86cdc64.jpg",[],{"id":2887,"slug":2888,"title":2889,"dynasty":85,"author":2890,"museum":212,"description":2891,"tags":2892,"thumbUrl":2893,"material":120,"size":120,"collection":120,"collections":2894,"showCount":2860,"zanCount":11,"manualWeight":11,"mainColor":48},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","杜琼","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,25,26,90,28,94,133,30,31,35,7,32,91,675,59,60,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":2896,"slug":2897,"title":2898,"dynasty":129,"author":1258,"museum":212,"description":2899,"tags":2900,"thumbUrl":2901,"material":120,"size":120,"collection":100,"collections":2902,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":104},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[24,25,381,90,28,30,133,96,170,215,199,59,60,7,255,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[100,45],41,{"id":2905,"slug":2906,"title":2907,"dynasty":85,"author":86,"museum":20,"description":2908,"tags":2909,"thumbUrl":2910,"material":370,"size":2911,"collection":120,"collections":2912,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":104},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,381,90,94,96,170,30,59,60,35,7,91,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46249d3f1a8b1efdae161fb0542ffbf.jpg","28.5*25.5cm",[],{"id":2914,"slug":2915,"title":1537,"dynasty":129,"author":402,"museum":212,"description":1538,"tags":2916,"thumbUrl":2917,"material":120,"size":120,"collection":120,"collections":2918,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":104},233903,"hua-hui-shan-shui-ce-yun-shou-ping-233903",[24,25,381,90,30,94,184,7,35,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb64d6ef3ece810763cbad6bcf614832.jpg",[],{"id":2920,"slug":2921,"title":2922,"dynasty":129,"author":2923,"museum":266,"description":2924,"tags":2925,"thumbUrl":2926,"material":2927,"size":2928,"collection":100,"collections":2929,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":104},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,24,25,30,381,90,94,215,1272,92,1040,199,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","浅设色","34.7x29厘米",[100,78],{"id":2931,"slug":2932,"title":2933,"dynasty":85,"author":109,"museum":110,"description":2934,"tags":2935,"thumbUrl":2939,"material":142,"size":2940,"collection":100,"collections":2941,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":48},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,28,94,30,35,93,92,7,60,351,135,1272,2936,2816,958,1969,138,1528,2937,2938,1417],"峰峦","淡赭","山石皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[100,78],{"id":2943,"slug":2944,"title":2945,"dynasty":85,"author":2588,"museum":87,"description":2946,"tags":2947,"thumbUrl":2948,"material":98,"size":2949,"collection":120,"collections":2950,"showCount":2903,"zanCount":247,"manualWeight":11,"mainColor":104},214669,"san-jue-tu-5-yao-shou-214669","三绝图-5","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,25,28,30,94,381,215,199,7,34,60,57,170,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623804a452b8a760df0fe03f12280c68.jpg","纵31.2 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此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,24,595,94,28,1125,93,113,351,59,1063,35,72,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 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厘米",[44,100],{"id":3071,"slug":3072,"title":3073,"dynasty":210,"author":3074,"museum":226,"description":3075,"tags":3076,"thumbUrl":3077,"material":172,"size":3078,"collection":100,"collections":3079,"showCount":3034,"zanCount":385,"manualWeight":11,"mainColor":104},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,25,198,90,94,96,170,30,486,92,35,93,7,135,2612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[100],{"id":3081,"slug":3082,"title":2442,"dynasty":129,"author":3083,"museum":266,"description":3084,"tags":3085,"thumbUrl":3087,"material":98,"size":120,"collection":100,"collections":3088,"showCount":3034,"zanCount":385,"manualWeight":11,"mainColor":104},214725,"shan-shui-ce-ye-hu-gui-214725","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[24,30,28,381,215,35,7,346,675,835,3086],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804056f2501ac14a099ce287ab11f0cf.jpg",[100],{"id":3090,"slug":3091,"title":3092,"dynasty":129,"author":3093,"museum":212,"description":3094,"tags":3095,"thumbUrl":3101,"material":120,"size":120,"collection":44,"collections":3102,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":104},238432,"geng-zhi-tu-ce-mian-yi-238432","耕织图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。\n乾隆廿九年八月十五日生。生母索绰罗氏，即左都御史观保之女。绵亿聪慧机敏，文静内敛，又熟读经史，擅长书法，乾隆帝十分欣赏，遂亲命绵亿在尚书房读书。加上永琪英年早逝，而其六子中仅绵亿一人能长成，故乾隆特别疼惜自幼失去父亲的他。绵亿于乾隆四十九年，封贝勒。\n嘉庆四年（1799年），晋荣郡王，嘉庆帝对这位只小自己几岁的侄子倒也十分照顾。话虽如此，但在嘉庆十一年（1806年），绵亿为两子取名时私用金字偏旁被嘉庆帝斥责，更以“不似近支，自同疏远”为由，命绵亿退出乾清门并在外廷当差，也革除他领侍卫内大臣、管园大臣等职务。及后绵亿替两子更名为糸字偏旁，加上嘉庆十八年的癸酉之变，绵亿眼看有些王公们毫不在乎的样子，就正色道：“皇上是吾辈何人。即使以亲谊论，也应当代上分忧，况万乘之尊乎。”绵亿遂恳请嘉庆帝速还京师，以稳定人心。其英勇刚直得嘉庆赞赏，刮目相看，官职不但一阵子就恢复了，还倍受嘉庆帝的宠爱与重用。皇帝自此常说道：“朕侄辈惟绵亿有骨肉情也”。嘉庆二十年三月五日，与父亲一样体弱的绵亿病逝，终年五十一岁，谥曰“恪”。",[24,28,29,381,57,7,35,3096,3097,3098,3099,3031,521,155,3100],"篱笆","农具","农事","劳作场景","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe770663013436f33ad642d28eb3111f1.jpg",[44,45],38,{"id":3105,"slug":3106,"title":3107,"dynasty":85,"author":3108,"museum":20,"description":3109,"tags":3110,"thumbUrl":3111,"material":243,"size":3112,"collection":100,"collections":3113,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":104},237697,"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","项圣谟","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[24,25,198,133,94,90,96,30,215,199,116,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[100,452],{"id":3115,"slug":3116,"title":3117,"dynasty":129,"author":688,"museum":212,"description":3118,"tags":3119,"thumbUrl":3121,"material":120,"size":120,"collection":44,"collections":3122,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":104},235773,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-shi-min-235773","清初六大家集册-山水页","绢本水墨 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荡浮烟岚的峰峦冈岭，逶迤起伏连绵不断。\n山坳平坦处水榭、茅舍散落于林溪岸畔。\n近处的麓坡岸石，各种苍郁古茂的大树掩映着的草亭尤显幽静。\n上方题：“作画意在笔先，以得势为主….时康熙乙亥仲夏望后麓台祁”。\n王原祁（1642-1715年）字茂京，号麓台。\n江苏太仓人。\n王时敏之孙。\n擅山水，精鉴定，有“娄东派”之称。\n为清初六大家之一",[24,25,154,381,90,94,30,184,35,7,3120,170],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711b08e8224858c05339fb7b788a52d4.jpg",[44,78],{"id":3124,"slug":3125,"title":3126,"dynasty":85,"author":469,"museum":20,"description":3127,"tags":3128,"thumbUrl":3129,"material":118,"size":3130,"collection":120,"collections":3131,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":104},233961,"fang-gu-shan-shui-ce-dong-qi-chang-233961","仿古山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,25,381,96,95,170,28,94,30,35,93,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2597824fb0e8f717ef82a8d2784b338.jpg","纵26.3厘米，横25.5厘米",[],{"id":3133,"slug":3134,"title":3135,"dynasty":85,"author":2203,"museum":20,"description":3136,"tags":3137,"thumbUrl":3138,"material":475,"size":3139,"collection":120,"collections":3140,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":104},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,25,26,90,29,95,96,170,255,7,57,156,93,2175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 横67CM",[],{"id":3142,"slug":3143,"title":3144,"dynasty":668,"author":3145,"museum":212,"description":3146,"tags":3147,"thumbUrl":3148,"material":678,"size":679,"collection":100,"collections":3149,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":48},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 四季山水图（冬）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,595,198,94,28,30,93,255,113,7,1126,35,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[100],{"id":3151,"slug":3152,"title":3153,"dynasty":129,"author":2425,"museum":422,"description":2426,"tags":3154,"thumbUrl":3155,"material":356,"size":2437,"collection":120,"collections":3156,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":104},223061,"hong-lou-meng-47-sun-wen-223061","红楼梦47",[23,24,29,28,26,57,2429,59,60,35,7,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610bde4c2f78ed4a71fd87145a23f3d6.jpg",[],{"id":3158,"slug":3159,"title":3160,"dynasty":129,"author":3161,"museum":151,"description":3162,"tags":3163,"thumbUrl":3165,"material":1372,"size":3166,"collection":100,"collections":3167,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":104},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[23,24,26,90,94,595,3164,35,93,32,7,138,57,37,134,473,2022],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[100,78],{"id":3169,"slug":3170,"title":3171,"dynasty":129,"author":3172,"museum":266,"description":3173,"tags":3174,"thumbUrl":3175,"material":98,"size":3176,"collection":45,"collections":3177,"showCount":3103,"zanCount":11,"manualWeight":11,"mainColor":104},219432,"shi-yi-gao-zong-yu-bi-ni-gu-shi-zhou-zou-yi-gui-219432","诗意高宗御笔拟古诗轴","邹一桂","峰峦层叠，飞瀑如练倾泻空谷，溅起雾霭氤氲。山腰林麓间，几椽村舍隐现，溪畔小舟轻泊，似待归人。近处松石挺秀，竹影婆娑，笔墨清润雅致，皴染相济——山石以干笔皴出嶙峋肌理，草木以细墨勾描葱茏生机。诗与画浑然交融，将御笔诗意中的幽寂旷达凝注尺幅：烟霞绕舍，幽花弄晴，村居闲适与山水灵秀相映成趣，尽显文人笔墨的韵致与超然尘外的情怀。",[24,25,198,90,94,96,170,30,35,229,60,31,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3428ddd92601e9917eff9c609bc5362e.jpg","188.7x55.8",[45],{"id":3179,"slug":3180,"title":3181,"dynasty":129,"author":3182,"museum":212,"description":3183,"tags":3184,"thumbUrl":3185,"material":120,"size":120,"collection":100,"collections":3186,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":104},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,25,198,90,94,133,30,59,60,91,92,113,7,93,35,346,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[100],37,{"id":3189,"slug":3190,"title":3191,"dynasty":129,"author":1258,"museum":20,"description":3192,"tags":3193,"thumbUrl":3194,"material":243,"size":767,"collection":100,"collections":3195,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":104},237611,"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[24,90,198,94,133,170,30,229,35,7,93,135,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg",[100,78],{"id":3197,"slug":3198,"title":3199,"dynasty":129,"author":252,"museum":20,"description":3200,"tags":3201,"thumbUrl":3202,"material":370,"size":120,"collection":100,"collections":3203,"showCount":3187,"zanCount":385,"manualWeight":11,"mainColor":48},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,25,198,905,90,94,30,7,35,255,93,60,57,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[100,452],{"id":3205,"slug":3206,"title":3207,"dynasty":85,"author":3208,"museum":212,"description":3209,"tags":3210,"thumbUrl":3212,"material":120,"size":120,"collection":120,"collections":3213,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":48},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","谢时臣","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[24,25,198,90,94,30,556,255,7,57,113,93,138,3211,1126],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":3215,"slug":3216,"title":3217,"dynasty":85,"author":2800,"museum":20,"description":3218,"tags":3219,"thumbUrl":3220,"material":40,"size":3221,"collection":120,"collections":3222,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":104},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","春山游骑图轴","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,25,198,90,94,30,59,60,62,57,35,93,7,255,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":3224,"slug":3225,"title":377,"dynasty":129,"author":378,"museum":212,"description":3226,"tags":3227,"thumbUrl":3228,"material":678,"size":679,"collection":120,"collections":3229,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":104},230276,"shan-shui-tu-ce-zhu-da-230276","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,90,94,381,170,30,114,93,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4472f7aa214cb40bd93f48ed4bffbe09.jpg",[],{"id":3231,"slug":3232,"title":1522,"dynasty":129,"author":167,"museum":20,"description":3233,"tags":3234,"thumbUrl":3235,"material":243,"size":3236,"collection":100,"collections":3237,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":48},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,154,24,595,133,94,90,28,198,215,269,35,59,7,135,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg","纵91厘米，横46厘米",[100],{"id":3239,"slug":3240,"title":3241,"dynasty":129,"author":3242,"museum":540,"description":3243,"tags":3244,"thumbUrl":3246,"material":3247,"size":3248,"collection":452,"collections":3249,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":104},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,25,381,90,28,30,96,94,60,184,35,1809,7,3245],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","水墨设色","31.8x24.8cm",[452,100],{"id":3251,"slug":3252,"title":3253,"dynasty":85,"author":645,"museum":3254,"description":3255,"tags":3256,"thumbUrl":3258,"material":3259,"size":3260,"collection":120,"collections":3261,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":48},222212,"yu-di-tu-chou-ying-222212","渔笛图","美国纳尔逊阿特金斯艺术博物馆","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,24,29,28,30,35,7,91,115,60,57,270,34,94,134,3257],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":3263,"slug":3264,"title":3265,"dynasty":85,"author":2890,"museum":20,"description":3266,"tags":3267,"thumbUrl":3268,"material":118,"size":3269,"collection":120,"collections":3270,"showCount":3187,"zanCount":11,"manualWeight":11,"mainColor":48},220390,"you-song-tu-du-qiong-220390","友松图","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,25,26,30,28,29,94,59,60,93,35,255,7,1916,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":3272,"slug":3273,"title":3274,"dynasty":129,"author":167,"museum":20,"description":3275,"tags":3276,"thumbUrl":3277,"material":231,"size":3278,"collection":100,"collections":3279,"showCount":3187,"zanCount":385,"manualWeight":11,"mainColor":48},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,24,25,198,30,94,28,215,199,60,59,7,93,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[100],{"id":3281,"slug":3282,"title":3283,"dynasty":129,"author":3284,"museum":212,"description":3285,"tags":3286,"thumbUrl":3287,"material":120,"size":120,"collection":100,"collections":3288,"showCount":3289,"zanCount":385,"manualWeight":11,"mainColor":48},238234,"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","张宗苍","公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[24,26,595,90,94,1529,30,58,59,92,93,958,60,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[100,45],36,{"id":3291,"slug":3292,"title":1037,"dynasty":129,"author":2512,"museum":212,"description":3293,"tags":3294,"thumbUrl":3295,"material":120,"size":120,"collection":120,"collections":3296,"showCount":3289,"zanCount":11,"manualWeight":11,"mainColor":104},230115,"shan-shui-ce-jian-jiang-230115","这幅以渴笔淡墨绘就的山水，清劲冷逸。山石仅以疏朗线条勾勒轮廓，略施苔点，便将丘壑的清峭风骨尽数托出。留白代水，不着一笔却尽显秋江空茫之意。\n\n坡上矮屋孑然，旁立两株枯木，枝桠疏疏落落，和远山细树遥遥相对。整幅画删尽冗杂，以极简笔墨撑起满幅萧疏空寂，角落朱印如空山余温，更衬出天地静穆。于淡远简净之中藏着苍润深秀，将人带入空山无人、水流无息的幽寂禅境。",[24,25,381,90,94,30,7,35,93,2022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1421d5380835cb3a6b3385be97e94568.jpg",[],{"id":3298,"slug":3299,"title":3300,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":3301,"thumbUrl":3307,"material":678,"size":679,"collection":680,"collections":3308,"showCount":3289,"zanCount":385,"manualWeight":11,"mainColor":48},225930,"flowers-at-vetheuil-1880-mo-nai-225930","Flowers at Vetheuil, 1880",[2125,672,1626,3302,3303,3304,1750,1749,35,32,835,7,3305,352,1745,1744,3306],"色彩丰富","笔触奔放","花朵","远景","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d1346f087a032be70d9ec8d35c5427.jpg",[680],{"id":3310,"slug":3311,"title":3312,"dynasty":210,"author":1602,"museum":266,"description":3313,"tags":3314,"thumbUrl":3316,"material":28,"size":3317,"collection":100,"collections":3318,"showCount":3289,"zanCount":247,"manualWeight":11,"mainColor":48},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,24,595,154,198,94,28,30,91,35,93,60,7,255,34,184,3315,958],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 160.6x104.9公分；诗塘 17.3x104.6公分；全幅 107公分",[100,78],{"id":3320,"slug":3321,"title":3322,"dynasty":129,"author":458,"museum":20,"description":3323,"tags":3324,"thumbUrl":3326,"material":370,"size":3327,"collection":120,"collections":3328,"showCount":3289,"zanCount":11,"manualWeight":11,"mainColor":104},220323,"huang-shan-tu-ce-7-hong-ren-220323","黄山图册-7","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,154,24,381,90,94,30,3325,255,7,37,93],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6273e3416479027eeb1ab9d4d8cccedb.jpg","21.5x18.3厘米",[],{"id":3330,"slug":3331,"title":3332,"dynasty":85,"author":2531,"museum":529,"description":3333,"tags":3334,"thumbUrl":3335,"material":231,"size":3336,"collection":100,"collections":3337,"showCount":3289,"zanCount":11,"manualWeight":11,"mainColor":48},220146,"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[23,24,25,30,198,90,94,92,59,93,7,114,869,35,57,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[100],{"id":3339,"slug":3340,"title":3341,"dynasty":85,"author":3342,"museum":266,"description":3343,"tags":3344,"thumbUrl":3345,"material":231,"size":3346,"collection":100,"collections":3347,"showCount":3289,"zanCount":11,"manualWeight":11,"mainColor":48},219514,"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[24,25,198,28,30,94,59,60,35,7,93,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[100],{"id":3349,"slug":3350,"title":3351,"dynasty":18,"author":1303,"museum":212,"description":3352,"tags":3353,"thumbUrl":3357,"material":678,"size":679,"collection":120,"collections":3358,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":48},289343,"han-shan-fei-pu-tu-yang-shi-xian-289343","寒山飞瀑图","杨士贤[宋]宣和（1119至一1125）待诏。绍兴（1131至1162）间至钱塘（今杭州）复旧职，赐金带。工山水人物，师郭熙多作品小景，山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。绍兴间至钱塘（今杭州）复旧职，赐金带。工山水人物，师郭熙多作品小景，山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。《图绘宝鉴》",[23,24,154,595,90,94,3354,3355,93,113,7,184,556,62,3356],"寒山","飞瀑","清寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F433408c78ce215adab31f025490fae8a.jpg",[],35,{"id":3361,"slug":3362,"title":1102,"dynasty":129,"author":3363,"museum":212,"description":3364,"tags":3365,"thumbUrl":3366,"material":120,"size":120,"collection":100,"collections":3367,"showCount":3359,"zanCount":385,"manualWeight":11,"mainColor":104},239027,"shan-shui-zhou-wang-xue-hao-239027","王学浩","王学浩（1754—1832）字孟养，号椒畦，江苏昆山人。乾隆五十一年（1786）举人。为人恬澹旷适，绝意干禄。遍历燕、秦、楚、粤。山水得原祁正传，结体精微，笔力苍古。著有《山南论画》，立论精当。于书无不工，篆、隶古劲，直接秦、汉而不自谓能。真书从欧入褚，晚探二王秘。行书更得瘗鹤铭笔意，坚苍浑厚，自成一家。工诗，卒年七十九。",[24,25,198,28,94,30,7,35,93,60,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ac2666c3007bbc5a92459091d826e3.jpg",[100,45],{"id":3369,"slug":3370,"title":3371,"dynasty":129,"author":252,"museum":20,"description":3372,"tags":3373,"thumbUrl":3374,"material":3375,"size":3376,"collection":120,"collections":3377,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":104},233426,"yuan-ji-shan-shui-ce-shi-tao-233426","原济山水册","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,90,94,381,30,93,138,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8b294c65ccb30f4efcb803f6d027904.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":3379,"slug":3380,"title":3381,"dynasty":18,"author":3039,"museum":212,"description":3040,"tags":3382,"thumbUrl":3383,"material":356,"size":3384,"collection":120,"collections":3385,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":48},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","关山行旅图卷",[23,2316,24,25,26,27,28,29,94,30,184,35,113,255,58,92,59,60,57,62,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":3387,"slug":3388,"title":3389,"dynasty":18,"author":181,"museum":212,"description":3390,"tags":3391,"thumbUrl":3392,"material":120,"size":120,"collection":120,"collections":3393,"showCount":3359,"zanCount":385,"manualWeight":11,"mainColor":48},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,25,26,30,29,90,94,215,269,35,116,114,60,7,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":3395,"slug":3396,"title":3397,"dynasty":18,"author":3398,"museum":212,"description":3399,"tags":3400,"thumbUrl":3401,"material":120,"size":120,"collection":120,"collections":3402,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":104},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","荆浩","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[23,24,25,90,28,94,30,134,473,7,116,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":3404,"slug":3405,"title":3406,"dynasty":129,"author":252,"museum":212,"description":3407,"tags":3408,"thumbUrl":3409,"material":120,"size":120,"collection":120,"collections":3410,"showCount":3359,"zanCount":247,"manualWeight":11,"mainColor":124},224513,"shan-shui-tu-ce-8-kai-3-shi-tao-224513","山水图册8开-3","此作用笔纵逸朴拙，以淡赭晕染坡石，浓墨点染林木，皴擦间写出山岩苍浑肌理，远近层次随墨色虚实铺陈开来。近景村居隐于松荫之下，谷间蹊径蜿蜒向林壑深处，远景峰峦裹挟空濛岚气，将山野幽寂尽数藏于尺幅。\n\n题诗衬景，把寻幽山径、千峰如帘的诗意融于画中，尽显林泉山居的澹泊桃源之趣。虚实相生间落笔随性自在，不滞成法，将对山野深秀静穆的偏爱藏在笔底，淡墨浅彩里满是出世幽居的悠然意致。",[23,24,25,381,90,94,30,35,7,93,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a28274ae84fa01320bbfa5f181452.jpg",[],{"id":3412,"slug":3413,"title":3414,"dynasty":210,"author":211,"museum":266,"description":3415,"tags":3416,"thumbUrl":3420,"material":1797,"size":3421,"collection":100,"collections":3422,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":48},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。",[23,24,25,26,90,28,29,94,95,96,170,30,3417,218,32,35,7,217,2610,892,3418,3419,1990],"孤山","平野","远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[100,45],{"id":3424,"slug":3425,"title":3426,"dynasty":210,"author":3427,"museum":446,"description":3428,"tags":3429,"thumbUrl":3430,"material":172,"size":120,"collection":100,"collections":3431,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":104},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","曹知白","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[23,24,25,26,90,30,94,35,92,32,134,7,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[100],{"id":3433,"slug":3434,"title":3435,"dynasty":210,"author":239,"museum":266,"description":3436,"tags":3437,"thumbUrl":3439,"material":172,"size":3440,"collection":120,"collections":3441,"showCount":3442,"zanCount":11,"manualWeight":11,"mainColor":104},290953,"gu-kou-chun-geng-tu-wang-meng-290953","谷口春耕图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[154,24,90,198,30,94,184,35,7,3438,95,170,155],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88b00622127b2452424c1936ff6f2767.jpg","124.9x37.1",[],34,{"id":3444,"slug":3445,"title":3446,"dynasty":210,"author":1805,"museum":266,"description":3447,"tags":3448,"thumbUrl":3449,"material":158,"size":3450,"collection":120,"collections":3451,"showCount":3442,"zanCount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图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[154,24,25,198,90,30,91,649,93,255,60,7,95,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg","189.1x88.5",[],{"id":3453,"slug":3454,"title":3455,"dynasty":129,"author":402,"museum":212,"description":3456,"tags":3457,"thumbUrl":3458,"material":120,"size":120,"collection":120,"collections":3459,"showCount":3442,"zanCount":11,"manualWeight":11,"mainColor":104},235683,"ceng-luan-you-xi-zhou-yun-shou-ping-235683","层峦幽溪轴","此作用笔松灵秀逸，以浅绛淡彩晕染山峦林泉，笔墨清简却意致悠长。层峦以淡墨轻勾慢皴，敷色明净素雅，衬出山石温润质感。幽溪蜿蜒穿谷而过，渔舟静泊水面，林麓崖畔错落隐着村舍山居，枝叶扶疏间尽显林下清寂。\n题跋与画作相生相融，以书入画更添文人气韵，将江南山野的幽闲之境铺陈开来，观之如踏入世外幽居，沉浸式感受林泉间安谧隐逸的雅趣，尽显文人山水以意驭笔的空灵格调。",[24,25,198,90,94,30,60,91,92,199,425,93,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54ca2ae0ddaf9169d825040fa333bfa.jpg",[],{"id":3461,"slug":3462,"title":3463,"dynasty":85,"author":483,"museum":212,"description":3464,"tags":3465,"thumbUrl":3466,"material":120,"size":120,"collection":120,"collections":3467,"showCount":3442,"zanCount":11,"manualWeight":11,"mainColor":104},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,25,26,28,94,30,57,62,91,35,184,7,60,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":3469,"slug":3470,"title":3471,"dynasty":668,"author":390,"museum":212,"description":3472,"tags":3473,"thumbUrl":3476,"material":120,"size":120,"collection":120,"collections":3477,"showCount":3442,"zanCount":11,"manualWeight":11,"mainColor":104},225299,"fu-shi-hui-20-yi-ming-225299","浮世绘20","以平远视角铺展幽谧山水，青绿与浅赭晕染层叠丘峦，远景丹峰隐现薄雾间。苍松错落点缀崖岸水畔，清劲枝条勾勒古拙苍劲的意态。蜿蜒水泽以留白代雾霭，将远近景致朦胧晕开，崖间飞瀑垂落，松林深处掩映山居小屋，暗合隐逸幽居的雅趣。\n\n敷色淡雅柔和，线条清简雅致，将山居逸趣融于山水之间，带着恬淡禅意，把林泉山水的空灵悠远定格于纸面，尽显东方山水美学里悠然出世的诗意。",[3474,28,3475,30,229,255,135,37,134,7,270,35,1553,332],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d34a0a4546fef429a300e8f75a2d43.jpg",[],{"id":3479,"slug":3480,"title":3481,"dynasty":129,"author":2425,"museum":422,"description":2426,"tags":3482,"thumbUrl":3483,"material":356,"size":2437,"collection":120,"collections":3484,"showCount":3442,"zanCount":11,"manualWeight":11,"mainColor":104},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,25,381,29,28,56,57,62,58,30,35,59,7,521,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":3486,"slug":3487,"title":3488,"dynasty":85,"author":1485,"museum":540,"description":3489,"tags":3490,"thumbUrl":3491,"material":98,"size":3492,"collection":100,"collections":3493,"showCount":3442,"zanCount":11,"manualWeight":11,"mainColor":104},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[23,24,26,90,905,30,91,59,60,35,93,7,675,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[100],{"id":3495,"slug":3496,"title":3497,"dynasty":85,"author":1113,"museum":540,"description":3498,"tags":3499,"thumbUrl":3501,"material":98,"size":3502,"collection":44,"collections":3503,"showCount":3442,"zanCount":11,"manualWeight":11,"mainColor":104},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,24,25,26,90,94,30,199,3500,92,723,7,95,96,170],"桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[44],{"id":3505,"slug":3506,"title":3507,"dynasty":18,"author":2030,"museum":266,"description":3508,"tags":3509,"thumbUrl":3510,"material":90,"size":3511,"collection":100,"collections":3512,"showCount":3442,"zanCount":11,"manualWeight":11,"mainColor":48},219357,"xi-qiao-san-bu-zhou-li-gong-lin-219357","溪桥散步轴","云雾轻笼远山，层峦叠嶂间隐现沙洲，溪水流淌过平野，小桥横卧其上。近岸枯木疏枝错落，几椽茅舍掩映于林麓，有人影缓步溪畔，似与自然低语。山石以细腻线条勾勒，墨色浓淡相宜，皴擦间显苍劲质感；水面留白处见清浅波纹，愈显空濛。整幅画面虚实相生，远近层次分明，笔墨雅致温润，将文人隐逸的闲适心境与山水之清幽完美契合，尽显自然之趣与人文之韵，宛如一曲无声的田园牧歌，引人沉醉于这份宁静悠远之中。",[24,154,25,198,90,94,30,59,60,35,93,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4e06587a7f9fc815ef7ad4a35387.jpg","50.4x25.3",[100],{"id":3514,"slug":3515,"title":3516,"dynasty":85,"author":3517,"museum":266,"description":3518,"tags":3519,"thumbUrl":3520,"material":231,"size":3521,"collection":45,"collections":3522,"showCount":3442,"zanCount":385,"manualWeight":11,"mainColor":104},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,25,30,29,28,94,170,215,543,255,113,7,32,59,1809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,595,28,94,30,7,255,521,59,93,797,96,170,3538],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],33,{"id":3543,"slug":3544,"title":3545,"dynasty":85,"author":469,"museum":212,"description":3546,"tags":3547,"thumbUrl":3548,"material":678,"size":679,"collection":120,"collections":3549,"showCount":3541,"zanCount":11,"manualWeight":11,"mainColor":104},283748,"shan-shui-tu-ce-ba-kai-dong-qi-chang-283748","山水图册（八开）","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,381,90,94,30,35,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438769c9f3457e4c3c930a50fcdcfa13.jpg",[],{"id":3551,"slug":3552,"title":3553,"dynasty":129,"author":3554,"museum":212,"description":3555,"tags":3556,"thumbUrl":3557,"material":120,"size":120,"collection":100,"collections":3558,"showCount":3541,"zanCount":11,"manualWeight":11,"mainColor":48},238665,"xue-jing-shan-shui-ren-wu-tu-zhou-yuan-ying-238665","雪景山水人物图轴","袁瑛","童时侍其叔习山水，既长从徐北山（尚）学花卉，写意之笔，颇有骨力。乾隆三十年（一七六五）膺李因培（鹤峯）之荐，供奉内廷。山水晚年益加精密，出入宋、元，用笔沈厚，宗黄鼎法而变以己意。尝作乔木高居图最妙，张问陶有诗题赠。前后居京师四十年，后官粤东开平县沙冈司（瓯钵罗室书画过目考作开平知县）乾隆五十年（一七八五）归隐葑溪，筑赐诗堂以居。",[24,25,198,28,94,29,556,30,57,35,7,59,60,93,2318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4bc46b2695a7ea58f51f97d7cf6ce.jpg",[100,45],{"id":3560,"slug":3561,"title":1411,"dynasty":129,"author":828,"museum":212,"description":1412,"tags":3562,"thumbUrl":3563,"material":120,"size":120,"collection":120,"collections":3564,"showCount":3541,"zanCount":11,"manualWeight":11,"mainColor":104},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589",[24,25,154,90,94,832,30,35,7,59,60,116,425,255,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":3566,"slug":3567,"title":3568,"dynasty":129,"author":828,"museum":20,"description":3569,"tags":3570,"thumbUrl":3571,"material":3572,"size":3573,"collection":100,"collections":3574,"showCount":3541,"zanCount":11,"manualWeight":11,"mainColor":104},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 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。",[24,198,90,94,30,215,229,35,7,135,270,38,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纸本 ，设色","纵184.8cm，横79.4cm",[100,78],{"id":3576,"slug":3577,"title":1561,"dynasty":210,"author":315,"museum":20,"description":1562,"tags":3578,"thumbUrl":3579,"material":118,"size":1565,"collection":120,"collections":3580,"showCount":3541,"zanCount":11,"manualWeight":11,"mainColor":48},233219,"you-ju-tu-juan-qian-xuan-233219",[24,25,26,27,28,29,94,30,215,269,199,92,59,60,91,57,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg",[],{"id":3582,"slug":3583,"title":3584,"dynasty":129,"author":130,"museum":20,"description":3585,"tags":3586,"thumbUrl":3587,"material":243,"size":3588,"collection":78,"collections":3589,"showCount":3541,"zanCount":11,"manualWeight":11,"mainColor":48},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","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。",[23,24,25,26,90,30,94,93,35,32,59,7,134,892,229,566,184,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[78],{"id":3591,"slug":3592,"title":3593,"dynasty":129,"author":3594,"museum":212,"description":3595,"tags":3596,"thumbUrl":3597,"material":120,"size":120,"collection":120,"collections":3598,"showCount":3541,"zanCount":385,"manualWeight":11,"mainColor":104},224353,"shan-shui-tu-li-zhou-sun-yi-224353","山水图立轴","孙逸","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,24,25,198,28,94,30,92,59,60,116,199,7,229,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":3600,"slug":3601,"title":3602,"dynasty":129,"author":3603,"museum":266,"description":3604,"tags":3605,"thumbUrl":3606,"material":3607,"size":3608,"collection":100,"collections":3609,"showCount":3541,"zanCount":11,"manualWeight":11,"mainColor":104},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[23,24,198,30,90,28,94,215,1041,255,59,60,7,93,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[100,45],{"id":3611,"slug":3612,"title":3613,"dynasty":129,"author":390,"museum":266,"description":3614,"tags":3615,"thumbUrl":3618,"material":231,"size":120,"collection":100,"collections":3619,"showCount":3541,"zanCount":11,"manualWeight":11,"mainColor":104},214618,"yu-ti-mian-hua-tu-ce-dan-hua-yi-ming-214618","御题棉花图册-弹花","御题棉花图册是一本清代的册页艺术作品，其中包含了一系列用棉花制作的图案。这本册子是在皇帝的指示下制作的，因此被称为“御题”，意思是“皇帝指示”。\n\n这本册子是在清代早期制作的，具体时间不详。它由多位艺术家共同创作，但是由于当时记录不够完整，我们无法确定具体的作者名字。\n\n这本册子的图案涵盖了许多不同的主题，包括自然景观、动物、人物以及传统的中国图案。所有的图案都是用棉花制作的，并且由多种颜色组成。这种艺术技巧叫做“棉花画”，是一种古老而传统的中国艺术形式。\n\n御题棉花图册是一件非常珍贵的艺术品，因为它是清代皇帝的御制作品，并且因为棉花画技巧的稀罕性而具有极高的收藏价值。如果你有机会看到这本册子，一定要好好欣赏它的精美图案和精湛的艺术技巧。",[24,28,29,381,95,96,57,7,35,2286,3616,3617],"工具","弹花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33edd5a769c0f5c1f335b8b6bcdd6019.jpg",[100],{"id":3621,"slug":3622,"title":457,"dynasty":129,"author":458,"museum":212,"description":459,"tags":3623,"thumbUrl":3625,"material":120,"size":462,"collection":120,"collections":3626,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},238031,"hong-ren-shan-shui-tu-ce-hong-ren-238031",[24,90,94,381,30,35,7,134,116,3624],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9144a0928789c773384316cc6493a3d6.jpg",[],32,{"id":3629,"slug":3630,"title":3631,"dynasty":129,"author":828,"museum":212,"description":1412,"tags":3632,"thumbUrl":3633,"material":120,"size":120,"collection":100,"collections":3634,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,90,94,198,30,93,35,60,59,7,229,25,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[100],{"id":3636,"slug":3637,"title":1257,"dynasty":129,"author":167,"museum":212,"description":3638,"tags":3639,"thumbUrl":3640,"material":120,"size":120,"collection":100,"collections":3641,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[24,25,198,90,94,133,170,30,93,35,7,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[100,78],{"id":3643,"slug":3644,"title":3645,"dynasty":129,"author":1947,"museum":212,"description":3646,"tags":3647,"thumbUrl":3648,"material":120,"size":120,"collection":120,"collections":3649,"showCount":3627,"zanCount":385,"manualWeight":11,"mainColor":48},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《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》、《 》。",[154,24,25,198,28,94,30,215,269,199,1272,7,91,113,37,217,93,958,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":3651,"slug":3652,"title":3653,"dynasty":129,"author":252,"museum":212,"description":3654,"tags":3655,"thumbUrl":3657,"material":120,"size":120,"collection":120,"collections":3658,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},228986,"yuan-ming-shi-yi-ce-ye-shi-tao-228986","渊明诗意册页","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，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。\n与 、 、 合称“清初四僧”。\n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。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[24,25,381,28,94,96,30,7,35,3656,57,95],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],{"id":3660,"slug":3661,"title":3662,"dynasty":85,"author":86,"museum":212,"description":3663,"tags":3664,"thumbUrl":3665,"material":120,"size":120,"collection":120,"collections":3666,"showCount":3627,"zanCount":247,"manualWeight":11,"mainColor":48},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,24,25,198,90,30,113,59,7,93,94,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":3668,"slug":3669,"title":3670,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":3671,"thumbUrl":3676,"material":678,"size":679,"collection":680,"collections":3677,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},226082,"the-magpie-1869-mo-nai-226082","The Magpie, 1869",[2125,672,1550,556,35,7,1627,1659,648,3672,3673,3674,3675],"雪覆屋顶","木栅栏","雪地小径","树木枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824463157f0fab1ae34a57a4aa1805b.jpg",[680],{"id":3679,"slug":3680,"title":3681,"dynasty":668,"author":669,"museum":212,"description":670,"tags":3682,"thumbUrl":3687,"material":678,"size":679,"collection":680,"collections":3688,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},225781,"montmartre-windmills-and-allotments-march-april-fan-gao-225781","Montmartre windmills and allotments (March - April )",[672,673,3683,28,3684,2286,3120,7,1627,35,57,2792,3685,113,3686,3099],"短笔触","风车","菜园","棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac7eead247db41f11dfde4151e11689.jpg",[680],{"id":3690,"slug":3691,"title":3692,"dynasty":129,"author":3693,"museum":212,"description":3694,"tags":3695,"thumbUrl":3696,"material":40,"size":3697,"collection":45,"collections":3698,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":48},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,25,154,198,30,94,90,93,255,229,7,92,35,59,57,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 横90CM",[45],{"id":3700,"slug":3701,"title":3702,"dynasty":129,"author":3703,"museum":829,"description":3704,"tags":3705,"thumbUrl":3706,"material":356,"size":3707,"collection":100,"collections":3708,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":48},224334,"tang-jie-yuan-shi-yi-tu-yang-jin-224334","唐解元诗意图","杨晋","本幅平远构图，描绘了一幅江南山水的诗意画。画中农村景物写意，人物写真，花鸟草虫，夕阳芳草意境深远，远山起伏，湖光粼粼；山坡下竹篱茅舍；柳岸边微风摇曳，小舟上渔民捕鱼，乐而忘返；用笔以淡笔渴墨勾轮廓，稍作皴染；树叶以夹叶法绘制，虚实相间，自然天成。\n纵观全画是一幅恬静雅致、祥和安乐的江南水乡生活的再现，此为其难得佳作。",[23,24,26,28,29,94,30,32,34,35,7,59,134,37,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb384a17571125cd89af94faa6e32aa5.jpg","35X195厘米",[100,45],{"id":3710,"slug":3711,"title":3712,"dynasty":129,"author":979,"museum":266,"description":3713,"tags":3714,"thumbUrl":3715,"material":370,"size":3716,"collection":100,"collections":3717,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},222692,"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,25,198,90,30,94,215,543,113,59,60,675,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d1491f.jpg","80*180cm",[100,78],{"id":3719,"slug":3720,"title":3721,"dynasty":85,"author":86,"museum":226,"description":3722,"tags":3723,"thumbUrl":3724,"material":172,"size":3725,"collection":100,"collections":3726,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","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，明代画家，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，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,90,94,96,170,472,200,93,35,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[100],{"id":3728,"slug":3729,"title":3730,"dynasty":129,"author":3731,"museum":266,"description":3732,"tags":3733,"thumbUrl":3734,"material":231,"size":3735,"collection":100,"collections":3736,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":48},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","萧晨","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,25,198,28,29,30,556,58,59,60,57,1271,255,93,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[100],{"id":3738,"slug":3739,"title":3740,"dynasty":85,"author":3108,"museum":266,"description":3741,"tags":3742,"thumbUrl":3743,"material":231,"size":3744,"collection":100,"collections":3745,"showCount":3627,"zanCount":11,"manualWeight":11,"mainColor":104},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[24,25,198,90,94,30,92,1809,199,7,170,95,96,675,3417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[100],{"id":3747,"slug":3748,"title":3749,"dynasty":129,"author":3750,"museum":212,"description":3751,"tags":3752,"thumbUrl":3755,"material":120,"size":120,"collection":100,"collections":3756,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":104},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[24,28,30,94,832,215,199,92,57,869,93,255,3753,170,59,596,7,70,893,3754,27,90,198],"枫树","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[100,45],31,{"id":3759,"slug":3760,"title":1102,"dynasty":129,"author":1258,"museum":20,"description":2463,"tags":3761,"thumbUrl":3762,"material":243,"size":2466,"collection":100,"collections":3763,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":104},237610,"shan-shui-zhou-wang-jian-237610",[24,90,94,198,30,93,35,59,60,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg",[100,78],{"id":3765,"slug":3766,"title":1411,"dynasty":129,"author":828,"museum":212,"description":1412,"tags":3767,"thumbUrl":3768,"material":120,"size":120,"collection":120,"collections":3769,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":104},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[25,24,90,94,1229,832,30,215,269,199,113,59,7,723,37,138,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":3771,"slug":3772,"title":3773,"dynasty":210,"author":239,"museum":266,"description":3774,"tags":3775,"thumbUrl":3776,"material":356,"size":3777,"collection":120,"collections":3778,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":48},232265,"xi-shan-gao-yi-tu-wang-meng-232265","溪山高逸图","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[24,25,198,90,28,94,30,35,92,60,93,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":3780,"slug":3781,"title":3782,"dynasty":210,"author":3427,"museum":266,"description":3783,"tags":3784,"thumbUrl":3785,"material":172,"size":3786,"collection":120,"collections":3787,"showCount":3757,"zanCount":385,"manualWeight":11,"mainColor":104},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[24,891,595,198,94,170,819,556,229,35,7,184,835,113,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":3789,"slug":3790,"title":3791,"dynasty":129,"author":688,"museum":212,"description":3792,"tags":3793,"thumbUrl":3794,"material":120,"size":120,"collection":120,"collections":3795,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":104},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[24,28,30,94,381,93,35,229,7,765,60,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":3797,"slug":3798,"title":3799,"dynasty":85,"author":3800,"museum":212,"description":3801,"tags":3802,"thumbUrl":3805,"material":120,"size":120,"collection":120,"collections":3806,"showCount":3757,"zanCount":260,"manualWeight":11,"mainColor":48},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,24,28,30,94,215,199,114,866,269,91,270,3803,2103,3804,61,7],"村舍","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":3808,"slug":3809,"title":3810,"dynasty":85,"author":1358,"museum":212,"description":3811,"tags":3812,"thumbUrl":3813,"material":120,"size":120,"collection":120,"collections":3814,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":48},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,90,94,96,95,170,30,215,35,7,135,37,893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":3816,"slug":3817,"title":3818,"dynasty":210,"author":390,"museum":20,"description":3819,"tags":3820,"thumbUrl":3821,"material":356,"size":3822,"collection":42,"collections":3823,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":48},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,198,90,94,28,30,1125,113,229,93,135,7,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[42],{"id":3825,"slug":3826,"title":3827,"dynasty":85,"author":1358,"museum":540,"description":3828,"tags":3829,"thumbUrl":3830,"material":370,"size":3831,"collection":100,"collections":3832,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":104},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","秋窗读易图","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,90,94,30,215,269,35,7,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[100,78],{"id":3834,"slug":3835,"title":3836,"dynasty":210,"author":2730,"museum":2163,"description":3837,"tags":3838,"thumbUrl":3839,"material":172,"size":3840,"collection":78,"collections":3841,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":104},220263,"tai-bai-long-jiao-tu-fang-cong-yi-220263","太白泷湫图","此幅作品画陕西秦岭主峰太白山上的瀑布，与隐居其间的道士。此幅画构图，大致运用远、中、近景的三段式。近景平地松木和杂树丛生，树林背面有数间茅屋、水榭．楼阁，隐约可见。中景为空旷的水面，左侧的岸边长着数株林木，右侧的山径曲折，在半山腰中有数株树木，枝叶下垂。山腰间瀑布直泻，宛如一条白龙腾空而下。远景为龙脉高耸的山势，十分奇峭。",[23,24,90,198,30,94,215,35,60,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178ff5a5c7e7663f1940e96e2b60d742.jpg","纵105.6厘米，横46.1厘米",[78],{"id":3843,"slug":3844,"title":3845,"dynasty":129,"author":3846,"museum":266,"description":3847,"tags":3848,"thumbUrl":3849,"material":172,"size":3850,"collection":100,"collections":3851,"showCount":3757,"zanCount":11,"manualWeight":11,"mainColor":104},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[154,24,25,198,90,94,30,215,1040,35,59,135,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[100],{"id":3853,"slug":3854,"title":1591,"dynasty":129,"author":3855,"museum":226,"description":3856,"tags":3857,"thumbUrl":3858,"material":231,"size":3859,"collection":100,"collections":3860,"showCount":3757,"zanCount":385,"manualWeight":11,"mainColor":48},217881,"xue-jing-shan-shui-tu-li-yin-217881","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,28,198,30,556,113,32,93,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46c723cdf9a5cd63c6d3ab518013086.jpg","155.8x71.2cm",[100],{"id":3862,"slug":3863,"title":3864,"dynasty":129,"author":3865,"museum":212,"description":3866,"tags":3867,"thumbUrl":3868,"material":120,"size":120,"collection":622,"collections":3869,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":104},239530,"fang-gu-ji-you-tu-ce-huang-yi-239530","访古纪游图册","黄易","此作以淡墨绘就水畔闲景，右侧疏木立异石，浅林掩映茅舍，远山含晕，留白铺就湖面，漾开空濛清寂。枯笔写木，皴擦刻画出湖石奇崛肌理，淡墨轻扫远山晕出水气。\n题跋与画作相映成趣，笔墨简淡秀润，将纪游幽怀寄于萧散景致里。整体意境澹泊静穆，尽显文人林下之风，把江南水畔的闲雅清居，揉进悠悠文心，淡而愈远，简中含情。",[24,25,381,90,305,30,200,116,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfee47df568b62a35375d8d73831df5.jpg",[622,78],30,{"id":3872,"slug":3873,"title":3874,"dynasty":129,"author":3865,"museum":212,"description":3875,"tags":3876,"thumbUrl":3877,"material":120,"size":120,"collection":100,"collections":3878,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":104},237734,"wu-sheng-shi-yi-tu-ce-huang-yi-237734","无声诗意图册","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。",[24,25,381,90,28,94,7,35,93,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da3788d7a2cc1ffec29df6911883a8.jpg",[100,45],{"id":3880,"slug":3881,"title":3882,"dynasty":129,"author":3883,"museum":20,"description":3884,"tags":3885,"thumbUrl":3886,"material":40,"size":120,"collection":100,"collections":3887,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":104},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[24,28,30,94,198,215,1393,405,199,92,270,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[100,45],{"id":3889,"slug":3890,"title":3891,"dynasty":18,"author":181,"museum":212,"description":3892,"tags":3893,"thumbUrl":3894,"material":120,"size":120,"collection":120,"collections":3895,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":48},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[24,25,154,29,28,56,26,57,7,35,1503,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":3897,"slug":3898,"title":3899,"dynasty":129,"author":167,"museum":212,"description":3900,"tags":3901,"thumbUrl":3902,"material":120,"size":120,"collection":120,"collections":3903,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":104},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,154,24,25,26,30,28,94,184,35,7,91,60,92,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":3905,"slug":3906,"title":3907,"dynasty":129,"author":2425,"museum":422,"description":2426,"tags":3908,"thumbUrl":3909,"material":356,"size":2437,"collection":120,"collections":3910,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":48},222923,"hong-lou-meng-48-sun-wen-222923","红楼梦48",[23,24,29,28,56,58,30,35,92,156,351,1744,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":3912,"slug":3913,"title":3914,"dynasty":210,"author":3915,"museum":266,"description":3916,"tags":3917,"thumbUrl":3918,"material":98,"size":3919,"collection":100,"collections":3920,"showCount":3870,"zanCount":385,"manualWeight":11,"mainColor":48},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,25,26,90,94,30,215,37,35,7,170,38,60,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[100],{"id":3922,"slug":3923,"title":3924,"dynasty":85,"author":3925,"museum":689,"description":3926,"tags":3927,"thumbUrl":3928,"material":231,"size":3929,"collection":100,"collections":3930,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":48},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,24,25,198,90,94,30,2317,1063,93,35,113,229,59,60,765,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[100],{"id":3932,"slug":3933,"title":1781,"dynasty":129,"author":3934,"museum":689,"description":3935,"tags":3936,"thumbUrl":3937,"material":231,"size":3938,"collection":100,"collections":3939,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":48},217263,"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[23,24,28,94,198,30,58,59,35,93,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[100],{"id":3941,"slug":3942,"title":3943,"dynasty":210,"author":211,"museum":212,"description":3944,"tags":3945,"thumbUrl":3947,"material":678,"size":679,"collection":120,"collections":3948,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":48},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。",[23,24,25,26,27,28,30,217,7,35,3946,1969],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568bd01744e2038c0a18a7d77628d07.jpg",[],29,{"id":3951,"slug":3952,"title":3953,"dynasty":129,"author":3954,"museum":20,"description":3955,"tags":3956,"thumbUrl":3957,"material":118,"size":3958,"collection":100,"collections":3959,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":104},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","秋山行旅图轴","方琮","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,25,154,198,28,94,30,486,93,35,60,229,7,59,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[100,45],{"id":3961,"slug":3962,"title":1037,"dynasty":129,"author":167,"museum":212,"description":3963,"tags":3964,"thumbUrl":3965,"material":120,"size":120,"collection":100,"collections":3966,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":104},236044,"shan-shui-ce-wang-yuan-qi-236044","笔底云峰浮于烟岚，以干笔积墨皴擦山峦，苍浑厚重间带着元人披麻皴的秀润遗意。近景溪湾宛转，村居隐于茂林错落间，屋舍疏朗恬淡，林木俯仰有姿。留白晕染出云气流荡，将远峰、中林、近岸自然衔连，疏密松紧相映。层层积墨却清雅松秀，不露堆砌之态，既得山川浑厚之致，又藏静穆萧散的文心。丘壑间浸着江南山水温润的灵韵，把幽居林下的闲澹意趣融于笔墨法度，尽显沉静悠然的文人山水意境。",[24,90,30,94,215,269,35,7,138,37,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[100],{"id":3968,"slug":3969,"title":1986,"dynasty":85,"author":3970,"museum":3971,"description":3972,"tags":3973,"thumbUrl":3974,"material":118,"size":3975,"collection":120,"collections":3976,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":104},234181,"shan-shui-tu-juan-zhang-fu-234181","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,24,25,26,90,94,30,31,32,60,35,7,59,675,116,596,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":3978,"slug":3979,"title":3371,"dynasty":129,"author":252,"museum":20,"description":3372,"tags":3980,"thumbUrl":3981,"material":3375,"size":3376,"collection":120,"collections":3982,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":104},233423,"yuan-ji-shan-shui-ce-shi-tao-233423",[24,25,381,90,94,30,116,114,255,7,270,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg",[],{"id":3984,"slug":3985,"title":3986,"dynasty":18,"author":445,"museum":212,"description":3987,"tags":3988,"thumbUrl":3989,"material":678,"size":679,"collection":120,"collections":3990,"showCount":3949,"zanCount":385,"manualWeight":11,"mainColor":104},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,154,24,25,26,305,28,95,57,30,35,7,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":3992,"slug":3993,"title":3994,"dynasty":129,"author":252,"museum":212,"description":3995,"tags":3996,"thumbUrl":3997,"material":120,"size":120,"collection":120,"collections":3998,"showCount":3949,"zanCount":385,"manualWeight":11,"mainColor":104},224511,"shan-shui-tu-ce-8-kai-2-shi-tao-224511","山水图册8开-2","此作用淡墨轻岚晕染远山，虚实相生间漾开空濛雾气，将山峦融在朦胧烟霭里，褪去峻拔锋芒只剩柔润余韵。近景村居错落，茅舍柴篱隐在林木苇草间，朴拙野趣扑面而来。枯笔焦墨点染丛树苔痕，淡赭轻敷屋舍坡岸，设色浅淡柔和，笔致松秀灵动。留白恰到好处，水汽氤氲的溪面与烟岚呼应，营造出静谧清寂的乡野氛围，似能将观者带入幽远山居闲境。笔墨藏着随性自在的画中真意，淡而有味，简中生趣，尽显文人山水的雅逸禅意。",[23,24,25,381,90,28,94,30,7,35,93,855,134,892,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f2a9746cd204e4d9f37a292700b3b8.jpg",[],{"id":4000,"slug":4001,"title":4002,"dynasty":85,"author":469,"museum":529,"description":4003,"tags":4004,"thumbUrl":4005,"material":381,"size":533,"collection":120,"collections":4006,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":120},220753,"fang-ge-jia-shan-shui-3-dong-qi-chang-220753","仿各家山水-3","此作用淡墨干笔写就远近山水，远景山峦皴擦松灵，坡岸随水势蜿蜒铺展，留白作水，晕染出空蒙悠远的湖山烟意，林石隐现其间，简淡空灵。近景古木虬曲苍劲，以浓淡墨色区分枝桠枯荣，层叠错落间掩映着临水村居，板桥卧波连起汀岸，野趣盎然。\n全画笔墨秀润松脱，以留白营造出幽寂空茫的意境，将山水淡远之致与林下幽居的雅静相融，尽显平淡天真的文人意趣，于简率笔墨中蕴含静穆悠长的诗意，淡而不薄，简而不空，尽显山水悠远淡寂的林下雅境。",[23,24,25,90,94,133,30,93,35,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3f7e74473aa4b84bb40d391a020b7.jpg",[],{"id":4008,"slug":4009,"title":4010,"dynasty":901,"author":4011,"museum":4012,"description":4013,"tags":4014,"thumbUrl":4015,"material":120,"size":120,"collection":120,"collections":4016,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":104},220486,"qiu-tian-de-feng-jing-lin-feng-mian-220486","秋天的风景","林风眠","Hong Kong Museum of Art","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[24,28,30,215,199,7,37,893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfade6bcbd19b6de8e2bb0e680d9ab09.jpg",[],{"id":4018,"slug":4019,"title":4020,"dynasty":129,"author":828,"museum":212,"description":4021,"tags":4022,"thumbUrl":4023,"material":98,"size":4024,"collection":120,"collections":4025,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":104},220133,"mo-gu-shan-shui-hua-3-wang-hui-220133","摹古山水画3","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,2828,28,94,30,255,93,37,7,57,135,35,134,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c95d2ba722189a59771f6f1eb36950e.jpg","30.5×21.5",[],{"id":4027,"slug":4028,"title":4029,"dynasty":85,"author":4030,"museum":266,"description":4031,"tags":4032,"thumbUrl":4033,"material":231,"size":120,"collection":100,"collections":4034,"showCount":3949,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[24,25,381,90,28,59,60,91,7,35,30,170,217,351,1551,34,134,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[100],{"id":4036,"slug":4037,"title":4038,"dynasty":129,"author":458,"museum":212,"description":4039,"tags":4040,"thumbUrl":4041,"material":678,"size":679,"collection":120,"collections":4042,"showCount":4043,"zanCount":11,"manualWeight":11,"mainColor":104},290180,"tao-an-tu-zhou-hong-ren-290180","陶庵图轴","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,24,198,90,30,113,184,7,59,170,94,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],28,{"id":4045,"slug":4046,"title":4047,"dynasty":85,"author":4048,"museum":212,"description":4049,"tags":4050,"thumbUrl":4052,"material":120,"size":120,"collection":120,"collections":4053,"showCount":4043,"zanCount":11,"manualWeight":11,"mainColor":104},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","李士达","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,25,198,28,29,94,57,3803,59,60,113,7,156,70,367,93,35,32,351,4051],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":4055,"slug":4056,"title":4057,"dynasty":129,"author":688,"museum":212,"description":4058,"tags":4059,"thumbUrl":4060,"material":120,"size":120,"collection":120,"collections":4061,"showCount":4043,"zanCount":385,"manualWeight":11,"mainColor":48},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,24,25,198,28,30,94,215,1041,199,1272,1040,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":4063,"slug":4064,"title":4065,"dynasty":210,"author":4066,"museum":266,"description":4067,"tags":4068,"thumbUrl":4070,"material":28,"size":4071,"collection":100,"collections":4072,"showCount":4043,"zanCount":385,"manualWeight":11,"mainColor":48},221847,"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","刘贯道","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[23,24,595,198,90,94,1126,93,113,58,31,7,4069,91,835],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[100,78],{"id":4074,"slug":4075,"title":30,"dynasty":901,"author":4076,"museum":4077,"description":4078,"tags":4079,"thumbUrl":4080,"material":120,"size":120,"collection":120,"collections":4081,"showCount":4043,"zanCount":11,"manualWeight":11,"mainColor":104},220513,"shan-shui-pu-xin-she-220513","溥心畬","龙美术馆西岸馆","此作以高远、平远之法铺展秋山江居之景。远景峰峦含烟，青嶂间朱檐古阁半隐雾霭，恍若仙乡。中景汀渚蜿蜒，苍松挺秀，丹枫点染秋光，村居藏于林麓，野趣悠然。近境临水高轩敞亮，二人凭栏对晤，秋水潺湲，石矶错落，霜叶漫山晕开暖红。\n笔墨兼融北宗苍劲与南宗秀润，浅赭花青晕染出明净秋意，题诗与画境相融，尽显清寂萧散的隐逸诗意，晕染出文人幽淡出尘的襟怀。",[24,25,28,94,30,58,35,134,473,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],{"id":4083,"slug":4084,"title":4085,"dynasty":85,"author":4086,"museum":422,"description":4087,"tags":4088,"thumbUrl":4089,"material":172,"size":4090,"collection":100,"collections":4091,"showCount":4043,"zanCount":11,"manualWeight":11,"mainColor":124},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","沈士充","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[23,24,595,133,90,94,93,35,765,7,37,91,60,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[100],{"id":4093,"slug":4094,"title":4095,"dynasty":18,"author":390,"museum":4096,"description":4097,"tags":4098,"thumbUrl":4099,"material":231,"size":4100,"collection":100,"collections":4101,"showCount":4043,"zanCount":385,"manualWeight":11,"mainColor":48},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,24,26,28,595,94,1126,215,269,113,255,675,91,270,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg","纵28.8厘米，横449.3厘米",[100],{"id":4103,"slug":4104,"title":4105,"dynasty":129,"author":4106,"museum":20,"description":4107,"tags":4108,"thumbUrl":4110,"material":118,"size":4111,"collection":100,"collections":4112,"showCount":4113,"zanCount":11,"manualWeight":11,"mainColor":104},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,25,198,90,94,30,1272,4109,199,93,7,32],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 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(1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,25,198,28,30,94,59,60,35,93,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[100,45],{"id":4176,"slug":4177,"title":4178,"dynasty":129,"author":1339,"museum":212,"description":4179,"tags":4180,"thumbUrl":4181,"material":678,"size":679,"collection":120,"collections":4182,"showCount":4154,"zanCount":385,"manualWeight":11,"mainColor":104},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[24,25,198,28,30,133,91,114,7,35,1551,93,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":4184,"slug":4185,"title":1411,"dynasty":129,"author":828,"museum":212,"description":1412,"tags":4186,"thumbUrl":4187,"material":120,"size":120,"collection":120,"collections":4188,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,25,154,90,832,30,94,381,184,35,60,59,7,37,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":4190,"slug":4191,"title":4192,"dynasty":129,"author":4193,"museum":212,"description":4194,"tags":4195,"thumbUrl":4196,"material":678,"size":679,"collection":120,"collections":4197,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","焦秉贞","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[1467,24,25,28,29,30,57,35,7,116,138,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],{"id":4199,"slug":4200,"title":4201,"dynasty":129,"author":458,"museum":20,"description":4202,"tags":4203,"thumbUrl":4205,"material":4206,"size":4207,"collection":120,"collections":4208,"showCount":4154,"zanCount":385,"manualWeight":11,"mainColor":104},233703,"gu-cha-duan-di-tu-zhou-hong-ren-233703","古槎短荻图轴","此图纸本，墨笔。绘香士陈应颀居所，具有写实意味，简陋的书舍与陈设衬托出主人品性的孤高，书屋内寂静无人，内设几案龛灯，屋前两株古树相对而立，叶落待尽、寒枝舒展，所以给人以萧条纯净之感。拾级而下一弯小溪蜿蜒流淌汇集成塘，周围环绕着高低错落的岩石，溪水宁静无澜犹如主人不逐名利的平淡心境。右边短荻丛生，清润可爱，为幽居的高士生活增添了几许生气。前景潭环石抱，潭边的岩石用方折的线条空勾，几无皴染，为弘仁典型的几何形体画法，潭水用大片的留白来表达，不擦一笔。整幅画墨色枯淡，用笔简疏，意境淡远，虚静、空灵之境油然而生。",[24,90,305,94,198,30,113,4204,7,93,425],"短荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f27cfcac2aa374ca7abeb7343608a1.jpg","纸本 ，墨笔","纵61.9cm，横35.3cm",[],{"id":4210,"slug":4211,"title":4212,"dynasty":85,"author":4048,"museum":212,"description":4213,"tags":4214,"thumbUrl":4216,"material":120,"size":120,"collection":120,"collections":4217,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":48},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[24,28,56,4215,30,58,59,60,91,92,35,57,7,346,1551],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca98128af99bcd4311e6d5f04b4bce8.jpg",[],{"id":4219,"slug":4220,"title":4221,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":4222,"thumbUrl":4226,"material":678,"size":679,"collection":680,"collections":4227,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},225997,"poirier-en-fleurs-1885-mo-nai-225997","Poirier en fleurs, 1885",[2125,672,1626,1629,4223,3673,7,1553,4224,4225],"花树","灌木","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6607fa2d8f1084eeccf15463908eef13.jpg",[680],{"id":4229,"slug":4230,"title":4231,"dynasty":129,"author":252,"museum":212,"description":4232,"tags":4233,"thumbUrl":4234,"material":120,"size":120,"collection":120,"collections":4235,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[23,24,90,28,94,381,30,59,60,91,114,93,7,35,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":4237,"slug":4238,"title":4239,"dynasty":129,"author":1258,"museum":212,"description":4240,"tags":4241,"thumbUrl":4242,"material":120,"size":120,"collection":120,"collections":4243,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[23,24,90,94,133,198,30,93,7,35,60,59,170,114,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":4245,"slug":4246,"title":4247,"dynasty":129,"author":688,"museum":212,"description":4248,"tags":4249,"thumbUrl":4250,"material":120,"size":120,"collection":120,"collections":4251,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,25,198,90,94,30,58,35,93,229,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":4253,"slug":4254,"title":4255,"dynasty":129,"author":2135,"museum":266,"description":4256,"tags":4257,"thumbUrl":4258,"material":1797,"size":4259,"collection":100,"collections":4260,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},223110,"ceng-luan-song-cui-zhou-dong-bang-da-223110","层峦耸翠轴","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[23,24,25,198,90,94,30,184,255,229,92,7,135,270,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[100,78],{"id":4262,"slug":4263,"title":4264,"dynasty":129,"author":2135,"museum":266,"description":2521,"tags":4265,"thumbUrl":4269,"material":1797,"size":4270,"collection":100,"collections":4271,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴",[23,24,30,90,28,94,198,184,35,229,92,135,37,7,270,4266,4267,138,1528,134,1873,2609,905,4268],"丛林","谷地","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[100,78],{"id":4273,"slug":4274,"title":1781,"dynasty":85,"author":4275,"museum":266,"description":4276,"tags":4277,"thumbUrl":4279,"material":98,"size":4280,"collection":100,"collections":4281,"showCount":4154,"zanCount":385,"manualWeight":11,"mainColor":104},219470,"shan-shui-tu-gu-ning-yuan-219470","顾凝远","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[24,25,198,90,28,94,170,96,30,134,37,35,113,7,4278,2022,1554],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[100],{"id":4283,"slug":4284,"title":4285,"dynasty":129,"author":4286,"museum":616,"description":4287,"tags":4288,"thumbUrl":4290,"material":158,"size":4291,"collection":100,"collections":4292,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":48},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,595,90,94,215,92,59,60,35,7,57,93,1230,4289,198],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[100],{"id":4294,"slug":4295,"title":4296,"dynasty":85,"author":469,"museum":226,"description":3527,"tags":4297,"thumbUrl":4298,"material":98,"size":120,"collection":120,"collections":4299,"showCount":4154,"zanCount":385,"manualWeight":11,"mainColor":104},217016,"fang-gu-shan-shui-ce-liu-kai-5-dong-qi-chang-217016","仿古山水册六开-5",[23,24,25,381,90,30,96,170,113,93,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31baaa2bc3dec82af32f7ba9ddd10f36.jpg",[],{"id":4301,"slug":4302,"title":4303,"dynasty":85,"author":2588,"museum":87,"description":2946,"tags":4304,"thumbUrl":4305,"material":98,"size":2949,"collection":120,"collections":4306,"showCount":4154,"zanCount":385,"manualWeight":11,"mainColor":104},214666,"san-jue-tu-6-yao-shou-214666","三绝图-6",[24,25,30,28,381,59,60,35,7,134,91,425,797,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e731b862b74bacfca285005df0c0ca.jpg",[],{"id":4308,"slug":4309,"title":4310,"dynasty":129,"author":828,"museum":226,"description":4311,"tags":4312,"thumbUrl":4313,"material":98,"size":120,"collection":120,"collections":4314,"showCount":4154,"zanCount":11,"manualWeight":11,"mainColor":104},214597,"fang-gu-shan-shui-ce-7-wang-hui-214597","仿古山水册-7","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。",[154,24,25,381,90,30,113,7,59,60,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67024a0a82abbb02f727849af7897c51.jpg",[],{"id":4316,"slug":4317,"title":4318,"dynasty":85,"author":469,"museum":212,"description":3546,"tags":4319,"thumbUrl":4320,"material":678,"size":679,"collection":120,"collections":4321,"showCount":4322,"zanCount":11,"manualWeight":11,"mainColor":104},283714,"fang-mi-wu-zhou-shan-tu-juan-dong-qi-chang-283714","仿米五洲山图卷",[154,24,26,90,30,35,7,133,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65509d7542b4a31ac4d2c12723acfc9d.jpg",[],25,{"id":4324,"slug":4325,"title":1338,"dynasty":129,"author":1925,"museum":829,"description":432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x 31.9cm",[],{"id":4368,"slug":4369,"title":4370,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":4371,"thumbUrl":4375,"material":678,"size":679,"collection":680,"collections":4376,"showCount":4322,"zanCount":11,"manualWeight":11,"mainColor":104},226100,"the-promenade-at-argenteuil-1872-mo-nai-226100","The Promenade at Argenteuil, 1872",[672,2125,32,2476,1625,35,7,4372,4373,4374],"晴天","郊外","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52599d7943ec530c2bf4ba8472aa1f49.jpg",[680],{"id":4378,"slug":4379,"title":4380,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":4381,"thumbUrl":4388,"material":678,"size":679,"collection":680,"collections":4389,"showCount":4322,"zanCount":385,"manualWeight":11,"mainColor":48},226070,"the-fisherman-s-house-at-varengeville-1882-mo-nai-226070","The Fisherman's House at Varengeville, 1882",[672,2125,4382,4383,4384,7,1744,4385,4386,2476,674,880,4387,2126],"光影捕捉","色彩晕染","笔触轻快","花草","大海","海岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2dae2774885972773d5c669b66775a.jpg",[680],{"id":4391,"slug":4392,"title":4393,"dynasty":129,"author":688,"museum":212,"description":4394,"tags":4395,"thumbUrl":4396,"material":120,"size":120,"collection":120,"collections":4397,"showCount":4322,"zanCount":11,"manualWeight":11,"mainColor":48},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,25,198,595,94,90,28,30,255,229,37,93,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":4399,"slug":4400,"title":4401,"dynasty":129,"author":1925,"museum":212,"description":4402,"tags":4403,"thumbUrl":4405,"material":120,"size":120,"collection":120,"collections":4406,"showCount":4322,"zanCount":11,"manualWeight":11,"mainColor":104},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[23,24,25,26,90,94,30,57,7,35,255,797,91,4404],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],{"id":4408,"slug":4409,"title":1102,"dynasty":85,"author":2400,"museum":540,"description":4410,"tags":4411,"thumbUrl":4412,"material":1797,"size":4413,"collection":100,"collections":4414,"showCount":4322,"zanCount":11,"manualWeight":11,"mainColor":104},222533,"shan-shui-zhou-wang-duo-222533","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[23,24,25,198,90,30,114,7,93,35,32,905,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 厘米",[100,78],{"id":4416,"slug":4417,"title":4418,"dynasty":85,"author":4419,"museum":20,"description":4420,"tags":4421,"thumbUrl":4422,"material":172,"size":4423,"collection":100,"collections":4424,"showCount":4322,"zanCount":247,"manualWeight":11,"mainColor":104},220397,"chen-zong-yuan-hong-ya-shan-fang-tu-juan-chen-zong-yuan-220397","陈宗渊洪崖山房图卷","陈宗渊","《洪崖山房图》是陈宗渊唯一的传世作品，为其受友人胡俨之请按实景创作的。胡俨怀着还乡归隐之情，在家乡筑室名“洪崖山房”，以慰归思。他曾请王绂为其作图，但王绂当时因病重便作诗推辞，胡俨遂转请其弟子陈宗渊创作了此图。胡俨十分珍爱此作，多次在图后题识。图中抒写了胡俨身居庙堂、心怀归思的志向和情怀，同时也反映了在明初严酷的政治环境中，文人士大夫思隐的心态。\u2028　　画面上山峦起伏，江面开阔，景色壮观，反映出江西一带的风貌特征。所画人物占画幅比例很小，虽只寥寥数笔，须眉皆无，但姿态休闲生动，或展卷堂上，或携琴访友，巧妙地突出了人物在画中的地位，增添了恬静安逸的情致，表现出文人优雅的生活环境和超凡出尘的意趣。画中的山石用荷叶皴与披麻皴表现，线条多用中锋，自上而下拖长，错落纷披，转折灵动。陈宗渊的画法继承元代绘画风格，近似王绂，意境清远，笔墨苍秀，其作品对了解吴门前期绘画的传承关系具有重要的作用。",[23,24,25,26,90,28,30,29,94,96,95,170,184,32,7,35,59,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f656c3500b27f604686ec7a544e47c9.jpg","纵27.1厘米，横106.2厘米",[100,78],{"id":4426,"slug":4427,"title":4428,"dynasty":129,"author":458,"museum":20,"description":3323,"tags":4429,"thumbUrl":4431,"material":370,"size":3327,"collection":120,"collections":4432,"showCount":4322,"zanCount":11,"manualWeight":11,"mainColor":104},220319,"huang-shan-tu-ce-10-hong-ren-220319","黄山图册-10",[23,154,24,25,595,90,94,381,215,4430,93,35,7,135],"峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03bb8ba29fd6124cedfd526b6e0c2c30.jpg",[],{"id":4434,"slug":4435,"title":4436,"dynasty":210,"author":390,"museum":266,"description":4437,"tags":4438,"thumbUrl":4440,"material":158,"size":4441,"collection":100,"collections":4442,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":48},290793,"mai-yu-gu-jiu-tu-zhou-yi-ming-290793","买鱼沽酒图轴","此图描绘了群山为白雪覆盖，老松古杉点缀一些青翠之意。水榭中，主人等待著小童买鱼沽酒归来。溪涧木桥上，行旅冒雪赶路前来聚会，为寂静之山林增添了生意。依画法作者名款，旧传为元人之作。",[24,154,198,30,94,90,58,59,60,91,113,7,93,4439],"沽酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e785ff33fa89f38077ee412c9e6c097.jpg","57x36.7",[100],24,{"id":4445,"slug":4446,"title":1102,"dynasty":129,"author":4447,"museum":20,"description":4448,"tags":4449,"thumbUrl":4450,"material":243,"size":4451,"collection":100,"collections":4452,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":104},237121,"shan-shui-zhou-cheng-sui-237121","程邃","全图以枯笔焦墨表现丘峦林壑，带有程邃典型的笔墨特征。其渴笔干墨的行笔线条刚劲有力，具有以书入画的金石味，将山石树木荒拙苍老的筋骨之美表现得别有情致，从而成功地勾画出作者理想中那种摆脱尘嚣缰锁、陶然世外的高人雅境。",[24,25,30,90,94,198,215,35,7,135,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[100],{"id":4454,"slug":4455,"title":4456,"dynasty":129,"author":167,"museum":20,"description":4457,"tags":4458,"thumbUrl":4459,"material":118,"size":4460,"collection":100,"collections":4461,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":104},236412,"fang-li-cheng-yan-jing-zhou-wang-yuan-qi-236412","仿李成烟景轴","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”。王原祁做为“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。追随王原祁的画家众多，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。",[24,25,198,90,94,133,30,93,35,7,60,37,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[100,45,452],{"id":4463,"slug":4464,"title":4465,"dynasty":129,"author":4466,"museum":212,"description":4467,"tags":4468,"thumbUrl":4469,"material":120,"size":120,"collection":120,"collections":4470,"showCount":4443,"zanCount":247,"manualWeight":11,"mainColor":104},235673,"huang-shan-tu-zhou-mei-qing-235673","黄山图轴","梅清","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[24,25,198,90,94,30,255,37,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],{"id":4472,"slug":4473,"title":4474,"dynasty":129,"author":1165,"museum":212,"description":4475,"tags":4476,"thumbUrl":4477,"material":120,"size":120,"collection":120,"collections":4478,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":48},228953,"shan-shui-li-zhou-yuan-jiang-228953","山水立轴","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[24,198,28,30,229,35,7,91,92,56,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":4480,"slug":4481,"title":4482,"dynasty":210,"author":315,"museum":212,"description":4483,"tags":4484,"thumbUrl":4485,"material":120,"size":120,"collection":120,"collections":4486,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":124},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,26,28,30,94,96,35,7,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":4488,"slug":4489,"title":4490,"dynasty":129,"author":828,"museum":212,"description":4491,"tags":4492,"thumbUrl":4493,"material":120,"size":120,"collection":120,"collections":4494,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":48},224448,"tang-ren-shi-yi-tu-juan-wang-hui-224448","唐人诗意图卷","此作以长卷铺展江南胜景，开篇浩渺江天，远帆孤悬于烟霭之间，水天相融尽得平远之致。继而丘壑渐起，田畴村落错落于林麓溪畔，野趣盎然。中段奇峰崛立，皴笔苍劲厚重，林木蓊郁间隐见山居梵塔，兼得高远深邃。末段山峦复归淡远，墨色晕染间烟岚轻笼。\n全作用笔清润灵秀，干笔皴擦间兼具宋元山水之妙，以诗意入画，将江南山水的温润清和、林泉雅趣缓缓铺陈，移步换景间，尽显山河安闲悠然之态。",[23,24,26,595,94,28,30,184,134,35,7,675,218,135,93,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9deecc02f68f4e5c292be2c407e77717.jpg",[],{"id":4496,"slug":4497,"title":4498,"dynasty":129,"author":4447,"museum":4499,"description":4500,"tags":4501,"thumbUrl":4502,"material":370,"size":4503,"collection":120,"collections":4504,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":104},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","安徽省博物馆","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[23,154,24,25,90,94,30,59,60,91,116,114,7,93,35,3120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":4506,"slug":4507,"title":1338,"dynasty":85,"author":109,"museum":212,"description":4508,"tags":4509,"thumbUrl":4510,"material":120,"size":4511,"collection":120,"collections":4512,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":48},222589,"shan-shui-tu-zhou-lan-ying-222589","蓝瑛绘画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。",[23,24,198,28,94,30,93,255,7,92,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3137530f69bbbbed7b90a40b906f24f9.jpg","70x38",[],{"id":4514,"slug":4515,"title":4516,"dynasty":129,"author":390,"museum":266,"description":3614,"tags":4517,"thumbUrl":4520,"material":231,"size":120,"collection":100,"collections":4521,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":104},214619,"yu-ti-mian-hua-tu-ce-bu-zhong-yi-ming-214619","御题棉花图册-布种",[28,29,57,4518,35,3097,3100,2331,7,1504,3120,3946,4519],"田亩","播种","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4823b7f9fb4c84d6e1492ad9a53881e8.jpg",[100],{"id":4523,"slug":4524,"title":4525,"dynasty":129,"author":252,"museum":446,"description":4526,"tags":4527,"thumbUrl":4528,"material":98,"size":4529,"collection":120,"collections":4530,"showCount":4443,"zanCount":11,"manualWeight":11,"mainColor":104},214531,"yi-jin-ling-ce-3-shi-tao-214531","忆金陵册-3","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,381,90,28,30,57,114,91,7,35,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aff57056092af138d63c25edfe525d.jpg","纵23.8厘米，横19.2厘米",[],{"id":4532,"slug":4533,"title":4534,"dynasty":129,"author":4535,"museum":212,"description":4536,"tags":4537,"thumbUrl":4538,"material":370,"size":120,"collection":100,"collections":4539,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},240887,"tang-ren-qi-lv-shi-ye-qi-zhi-jia-240887","唐人七律诗页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,25,90,94,30,215,269,199,7,93,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[100],23,{"id":4542,"slug":4543,"title":4544,"dynasty":129,"author":1258,"museum":212,"description":4545,"tags":4546,"thumbUrl":4547,"material":120,"size":120,"collection":100,"collections":4548,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":48},238120,"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,198,90,30,94,184,35,7,59,60,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[100,78],{"id":4550,"slug":4551,"title":4552,"dynasty":129,"author":828,"museum":212,"description":4553,"tags":4554,"thumbUrl":4555,"material":120,"size":120,"collection":452,"collections":4556,"showCount":4540,"zanCount":385,"manualWeight":11,"mainColor":104},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，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。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[24,90,198,94,95,170,30,215,269,37,35,7,91,229,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[452],{"id":4558,"slug":4559,"title":4560,"dynasty":129,"author":1925,"museum":20,"description":4561,"tags":4562,"thumbUrl":4563,"material":370,"size":120,"collection":100,"collections":4564,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,25,381,90,30,96,94,35,7,270,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[100,45],{"id":4566,"slug":4567,"title":1102,"dynasty":129,"author":688,"museum":20,"description":2255,"tags":4568,"thumbUrl":4569,"material":243,"size":4570,"collection":120,"collections":4571,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},234845,"shan-shui-zhou-wang-shi-min-234845",[154,24,90,198,30,94,215,199,255,7,135,270,229,184,958],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg","纵135厘米，横63厘米",[],{"id":4573,"slug":4574,"title":4575,"dynasty":129,"author":4576,"museum":212,"description":4577,"tags":4578,"thumbUrl":4579,"material":120,"size":120,"collection":120,"collections":4580,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},226634,"si-shi-shan-shui-07-pu-ru-226634","四时山水07","溥儒","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,25,90,28,94,30,92,255,93,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559be15cbf0d7b675d5eeea0f7e508f.jpg",[],{"id":4582,"slug":4583,"title":4584,"dynasty":668,"author":669,"museum":212,"description":670,"tags":4585,"thumbUrl":4590,"material":678,"size":679,"collection":680,"collections":4591,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":48},225737,"der-rote-weinberg-fan-gao-225737","Der rote Weinberg",[154,672,673,1713,4586,4587,57,1504,4588,4589,7,648,1749],"色彩浓烈","葡萄园","水道","太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff190e33e17e48b675a530ece8a60d706.jpg",[680],{"id":4593,"slug":4594,"title":4595,"dynasty":129,"author":828,"museum":212,"description":4596,"tags":4597,"thumbUrl":4599,"material":120,"size":120,"collection":120,"collections":4600,"showCount":4540,"zanCount":385,"manualWeight":11,"mainColor":48},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,24,25,595,198,94,90,28,30,255,93,229,7,138,35,4598,135,3325],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":4602,"slug":4603,"title":4604,"dynasty":129,"author":167,"museum":212,"description":4605,"tags":4606,"thumbUrl":4607,"material":120,"size":120,"collection":120,"collections":4608,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,24,25,198,28,30,184,35,7,59,60,37,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":4610,"slug":4611,"title":4612,"dynasty":18,"author":390,"museum":20,"description":4613,"tags":4614,"thumbUrl":4615,"material":356,"size":4616,"collection":42,"collections":4617,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":48},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[23,24,154,29,28,56,57,62,7,199,93,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[42],{"id":4619,"slug":4620,"title":4621,"dynasty":85,"author":4622,"museum":266,"description":4623,"tags":4624,"thumbUrl":4625,"material":777,"size":4626,"collection":120,"collections":4627,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},222183,"fang-fan-kuan-shan-shui-zhao-zuo-222183","仿范宽山水","赵左","本幅收在赵左《山水册》第八开。近景画寒林、古刹，远处一峰高起，瀑悬其间。\n全画布置简洁，着墨无多，以淡柔雅逸取胜。左方题：「仿范宽。」刘道醇《宋朝名画评》（1057）称范宽（约950-1031间）画冬景好作「冒雪出云之势」，此作或系追摹此意。",[23,24,25,133,94,28,381,30,215,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53718b9f1aaaa21bae715bc637496395.jpg","23x21.5.",[],{"id":4629,"slug":4630,"title":4631,"dynasty":901,"author":4011,"museum":4632,"description":4013,"tags":4633,"thumbUrl":4634,"material":120,"size":120,"collection":120,"collections":4635,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},220484,"feng-jing-lin-feng-mian-220484","风景","中国美术学院美术馆",[24,28,90,30,184,35,37,332,1554,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dba5fd9b465d1b9e96fe17dfd4d4d0f.jpg",[],{"id":4637,"slug":4638,"title":4639,"dynasty":85,"author":390,"museum":689,"description":4640,"tags":4641,"thumbUrl":4642,"material":98,"size":120,"collection":120,"collections":4643,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},217930,"ming-ren-shan-shui-hua-ce-zhi-shi-san-yi-ming-217930","明人山水画册之(十三)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[24,25,381,90,94,30,93,35,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780be1127cd53a2e7ddde869aa2a2399.jpg",[],{"id":4645,"slug":4646,"title":4647,"dynasty":129,"author":828,"museum":689,"description":4648,"tags":4649,"thumbUrl":4650,"material":98,"size":4651,"collection":120,"collections":4652,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},217212,"fang-gu-shan-shui-shi-er-kai-liu-wang-hui-217212","仿古山水十二开(六)","此册王翚仿古十二开",[24,381,90,30,255,229,7,93,94,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad3402979059ae1473273bbfba5698a.jpg","25x35.4cm",[],{"id":4654,"slug":4655,"title":4656,"dynasty":129,"author":828,"museum":689,"description":4648,"tags":4657,"thumbUrl":4658,"material":98,"size":4651,"collection":120,"collections":4659,"showCount":4540,"zanCount":11,"manualWeight":11,"mainColor":104},217210,"fang-gu-shan-shui-shi-er-kai-ba-wang-hui-217210","仿古山水十二开(八)",[24,28,381,94,30,59,60,7,35,93,134,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399ceb4a1b0e5b5fd39e5b685e40b3e9.jpg",[],{"id":4661,"slug":4662,"title":4663,"dynasty":210,"author":239,"museum":266,"description":3436,"tags":4664,"thumbUrl":4665,"material":172,"size":512,"collection":120,"collections":4666,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":48},290417,"hua-xi-yu-yin-zhou-wang-meng-290417","花溪渔隐轴",[154,24,198,90,30,94,60,91,35,93,7,115,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a0acb529b0bc5c0c94798e81326b50.jpg",[],22,{"id":4669,"slug":4670,"title":495,"dynasty":85,"author":2531,"museum":212,"description":4671,"tags":4672,"thumbUrl":4673,"material":678,"size":679,"collection":120,"collections":4674,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":48},289789,"shan-cun-tu-li-zai-289789","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[154,24,30,58,7,91,675,866,114,60,92,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501868e78597399ce0c3278de9863e44.jpg",[],{"id":4676,"slug":4677,"title":4678,"dynasty":129,"author":979,"museum":212,"description":4679,"tags":4680,"thumbUrl":4682,"material":120,"size":120,"collection":100,"collections":4683,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},238514,"shan-shui-xiao-ce-qian-wei-cheng-238514","山水小册","此作用平远之法铺展秋郊山居：前景田亩纵横，村舍错落，农人俯身耕织，晕开融融烟火意趣。中层峰峦叠翠，林木蓊郁苍润，山石以细密皴法勾勒晕染，干湿浓淡间尽显丘壑层次。远景山峦清寂空灵，淡赭轻敷点染秋光。\n\n题诗与画作相映成趣，笔致工稳秀润，既有严整的山水法度，又揉入江南田园的悠然野趣，将秋日郊野的静穆生机诉诸笔端。文人雅致与村居烟火相融，把山居秋日的澹然闲逸刻画得淋漓尽致，尽显传统山水的抒情意韵。",[24,25,381,28,94,30,215,199,217,648,60,93,2175,7,4681],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44002ec93ae585ef891e8d628bc9422f.jpg",[100,45],{"id":4685,"slug":4686,"title":1037,"dynasty":129,"author":3594,"museum":20,"description":4687,"tags":4688,"thumbUrl":4690,"material":118,"size":120,"collection":120,"collections":4691,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},237196,"shan-shui-ce-sun-yi-237196","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,28,27,30,381,94,59,60,35,93,7,184,2021,4689,958],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c563356a453abf55ae34af8444b9d61.jpg",[],{"id":4693,"slug":4694,"title":3126,"dynasty":129,"author":4695,"museum":20,"description":4696,"tags":4697,"thumbUrl":4699,"material":118,"size":120,"collection":100,"collections":4700,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},236819,"fang-gu-shan-shui-ce-zhao-cheng-236819","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,25,381,28,30,832,35,7,134,57,138,881,4698,93],"绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ebc5ce7d4cd925819659780280bf13.jpg",[100,45],{"id":4702,"slug":4703,"title":4704,"dynasty":129,"author":4705,"museum":212,"description":4706,"tags":4707,"thumbUrl":4709,"material":678,"size":679,"collection":120,"collections":4710,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},235281,"ren-wu-gu-shi-ce-fan-xue-yi-235281","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,28,29,381,57,59,60,62,199,7,93,4708,1916],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f7d600f871e885662e72ac3a248c81.jpg",[],{"id":4712,"slug":4713,"title":3389,"dynasty":129,"author":828,"museum":540,"description":3569,"tags":4714,"thumbUrl":4715,"material":186,"size":4716,"collection":120,"collections":4717,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202",[23,24,26,30,90,94,28,556,184,32,35,113,255,7,59,95,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":4719,"slug":4720,"title":4721,"dynasty":129,"author":434,"museum":20,"description":4722,"tags":4723,"thumbUrl":4724,"material":4725,"size":4726,"collection":120,"collections":4727,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,26,90,30,94,95,96,170,215,269,1272,199,1040,229,138,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":4729,"slug":4730,"title":4731,"dynasty":129,"author":688,"museum":212,"description":4732,"tags":4733,"thumbUrl":4734,"material":120,"size":120,"collection":120,"collections":4735,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。\n每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。\n前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。\n笔墨疏秀，意境苍莽迷蒙。\n得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，4岁时即名闻海内。\n王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。\n顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。\n后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。\n”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。\n王翚（162—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。\n后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。\n在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。\n在王翚5岁到6岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。\n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”。",[24,90,381,133,94,30,199,60,7,116,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":4737,"slug":4738,"title":4739,"dynasty":85,"author":1292,"museum":212,"description":4740,"tags":4741,"thumbUrl":4743,"material":120,"size":120,"collection":120,"collections":4744,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":48},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,25,154,90,30,94,215,255,58,59,62,7,556,60,4742,294,3355],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":4746,"slug":4747,"title":4748,"dynasty":18,"author":390,"museum":212,"description":4749,"tags":4750,"thumbUrl":4751,"material":120,"size":120,"collection":120,"collections":4752,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":48},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,154,25,1467,90,28,30,556,35,7,93,94,330,1969,60,184,1126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":4754,"slug":4755,"title":4756,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":4757,"thumbUrl":4761,"material":678,"size":679,"collection":680,"collections":4762,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":48},226060,"the-cliff-at-dieppe-1882-mo-nai-226060","The Cliff at Dieppe, 1882",[2125,672,28,3325,4386,4758,57,2476,7,1554,1553,2478,4759,4760,138,3305,1873],"沙滩","海浪","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154be1a926a1c99feae1f17fe44cf22.jpg",[680],{"id":4764,"slug":4765,"title":4766,"dynasty":129,"author":3172,"museum":212,"description":4767,"tags":4768,"thumbUrl":4769,"material":120,"size":120,"collection":120,"collections":4770,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,24,198,30,94,90,184,37,35,7,135,255,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":4772,"slug":4773,"title":4774,"dynasty":129,"author":252,"museum":212,"description":4775,"tags":4776,"thumbUrl":4777,"material":120,"size":120,"collection":120,"collections":4778,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},224520,"shan-shui-tu-ce-8-kai-6-zhang-da-qian-jiu-cang-shi-tao-224520","山水图册8开-6-张大千旧藏","近处村舍错落，农人悠然，烟火气晕开山林野趣。中峰以枯笔勒石骨，淡墨晕出山岚，焦墨点苔缀松，干湿浓淡铺展出苍莽层次。右侧题笔朴拙老辣，诗画相映，将秋山萧索寄于木叶疏凉。\n\n笔意纵恣灵秀，不拘成法，以简淡笔墨写尽丘壑生机，把山居隐逸的静穆与山川清旷融为一体，借景抒怀，尽显山野朴拙之态，亦藏画者洒落襟怀。",[23,24,90,28,381,94,30,7,35,184,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb60ef25126ad857219560ef580fe319.jpg",[],{"id":4780,"slug":4781,"title":2442,"dynasty":85,"author":390,"museum":540,"description":4782,"tags":4783,"thumbUrl":4784,"material":356,"size":4785,"collection":100,"collections":4786,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":48},223457,"shan-shui-ce-ye-yi-ming-223457","魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。",[23,24,25,381,90,28,94,30,31,37,93,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[100,78],{"id":4788,"slug":4789,"title":4790,"dynasty":85,"author":109,"museum":266,"description":4791,"tags":4792,"thumbUrl":4793,"material":231,"size":4794,"collection":100,"collections":4795,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":48},222597,"xi-ge-qing-yan-tu-lan-ying-222597","溪阁清言图","此图的灵感来源是元代画家赵雍。画山石的时候，先用“披麻皴”来描绘质理，然后上面再轻轻罩染一层石青、石绿的颜料。山峰上的苔点和攀附松身的女萝，也是用冷色调的石青敷填，显得十分醒目。蓝瑛灵活地运用元代绘画的模式，将它转化成新的绘画语汇，再融入自己的创作之中。",[23,24,25,198,28,94,30,255,58,93,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5032344b2a24faa1cebce70996974eca.jpg","纵167.5cm，横48.3cm",[100,45],{"id":4797,"slug":4798,"title":4799,"dynasty":85,"author":4800,"museum":266,"description":4801,"tags":4802,"thumbUrl":4803,"material":120,"size":4804,"collection":100,"collections":4805,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},222022,"hua-hui-jing-tang-tu-juan-wen-jia-222022","画会景堂图卷","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,154,24,25,26,28,90,29,94,57,7,35,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2f2a2830eb86fb423891948207a67.jpg","27.1x88.1",[100,45],{"id":4807,"slug":4808,"title":4809,"dynasty":210,"author":3009,"museum":151,"description":4810,"tags":4811,"thumbUrl":4812,"material":186,"size":4813,"collection":120,"collections":4814,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},221811,"you-yu-xian-tu-juan-yao-ting-mei-221811","有余闲图卷","《有余闲图》的画幅不长，风格和故宫博物院的《雪江游艇图》一致，是典型的文人绘画。它的珍贵处，在于卷后元人题跋超多，前后二十余家，蔚为大观。\n卷前引首是章弼题写的“有余闲”三字篆书，画卷绘一高士坐于临水的茅舍前，姚廷美题：“至正廿年（1360）春正月□日作此，并系鄙语于尾，地偏人远闭柴关，满院松阴白昼闲。眼底风尘浑忘却，坐看流水卧看山。吴兴姚廷美书”。\n后接绢、纸七张，各接缝处有梁清标押缝小印，先是杨维桢绢本《有余闲说》，署“至正庚子（1360）二月初吉东维子书”。",[23,24,26,25,90,94,95,96,170,30,35,93,7,2021],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc526d0800068df29e80deb17c760a832.jpg","23.1 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84厘米",[],{"id":4816,"slug":4817,"title":4818,"dynasty":85,"author":390,"museum":1018,"description":4819,"tags":4820,"thumbUrl":4821,"material":231,"size":120,"collection":100,"collections":4822,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":48},219917,"xue-xi-gui-yu-tu-yi-ming-219917","雪溪归渔图","整幅画作浸在清寂冬意里，巨崖以淡墨皴擦，留白覆雪，棱线苍劲冷峻，带着寒山凝冻的硬挺质感，山间林梢缀着碎雪，萧疏冷冽。\n\n溪岸茅舍被厚雪压着檐角，屋中隐约可见围坐的暖融融烟火气，溪上渔舟系于岸边，归人正踏着板桥慢行，将荒寒雪景和俗世温情相融。淡晕的墨色晕染出空蒙的寒雾，虚实相生里，把冬日山野的清寂和渔居的安然揉为一体，于冷寂间藏着脉脉暖意，尽显冬日溪山的幽远意趣。",[24,30,28,29,94,543,93,35,7,57,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b3d2dba826278128c9a9bbaa02d226.jpg",[100],{"id":4824,"slug":4825,"title":4826,"dynasty":129,"author":4827,"museum":422,"description":4828,"tags":4829,"thumbUrl":4830,"material":98,"size":120,"collection":120,"collections":4831,"showCount":4667,"zanCount":11,"manualWeight":11,"mainColor":104},214483,"he-yi-shan-shui-tu-ce-4-he-yi-214483","赫奕山水图册-4","赫奕","清代画家赫奕的山水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，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，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，赫奕的山水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，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,24,25,381,28,90,94,30,59,60,91,35,93,7,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0ed1d6ade19cb4365110ecfc3dc38c.jpg",[],{"id":4833,"slug":4834,"title":4835,"dynasty":129,"author":3703,"museum":212,"description":4836,"tags":4837,"thumbUrl":4838,"material":120,"size":120,"collection":120,"collections":4839,"showCount":4840,"zanCount":11,"manualWeight":11,"mainColor":104},239056,"shan-shui-hua-niao-ce-yang-jin-239056","山水花鸟册","此帧以淡墨晕染烟霭远山，浅皴轻点绘就嶙峋危崖。崖顶古松盘曲若游龙，半遮山亭，似有幽人凭槛远眺江帆。山径逶迤接引视线，山下村居田亩隐于墨色浅深间，野趣自生。\n\n全幅笔致松秀简淡，将江南山水的温润清和融于尺幅之中。浅淡烟岚晕化开天地边界，远江帆影轻似闲云，悠悠漾开山水纵深感。左侧题字清雅，笔墨与画意相映成趣，以极简笔墨勾勒出林泉高致，尽显文人寄情丘壑的闲淡意趣。",[24,90,381,94,30,92,91,199,93,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfc4436b9b6be9d016480c45a840438.jpg",[],21,{"id":4842,"slug":4843,"title":4844,"dynasty":129,"author":2409,"museum":212,"description":2410,"tags":4845,"thumbUrl":4846,"material":120,"size":120,"collection":100,"collections":4847,"showCount":4840,"zanCount":11,"manualWeight":11,"mainColor":48},238339,"si-jing-shan-shui-xiao-ce-dong-gao-238339","四景山水小册",[24,25,381,90,28,94,30,215,199,7,37,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a1147384ebec720ae9dfe5d6b1add9.jpg",[100,45],{"id":4849,"slug":4850,"title":457,"dynasty":129,"author":458,"museum":212,"description":459,"tags":4851,"thumbUrl":4852,"material":120,"size":462,"collection":120,"collections":4853,"showCount":4840,"zanCount":11,"manualWeight":11,"mainColor":104},238028,"hong-ren-shan-shui-tu-ce-hong-ren-238028",[24,25,90,30,381,94,305,93,35,7,835,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cd8e2a8b9ef7aa9b3c431dd9e276fe.jpg",[],{"id":4855,"slug":4856,"title":377,"dynasty":129,"author":4857,"museum":212,"description":4858,"tags":4859,"thumbUrl":4860,"material":678,"size":679,"collection":100,"collections":4861,"showCount":4840,"zanCount":11,"manualWeight":11,"mainColor":104},237479,"shan-shui-tu-ce-yao-song-237479","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,381,90,30,94,96,170,215,269,199,59,7,92,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[100],{"id":4863,"slug":4864,"title":4865,"dynasty":129,"author":4866,"museum":212,"description":4867,"tags":4868,"thumbUrl":4869,"material":678,"size":679,"collection":120,"collections":4870,"showCount":4840,"zanCount":11,"manualWeight":11,"mainColor":48},235272,"chun-chou-mai-lang-tu-zhou-yuan-yao-235272","春畴麦浪图轴","袁耀","袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。笔墨严整工细，设色艳丽浓郁，与父袁江同为清代界画代表人物。",[24,25,198,28,29,30,7,57,35,596,648,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b039db189b0a1cf8a3e88d590b307b8.jpg",[],{"id":4872,"slug":4873,"title":377,"dynasty":129,"author":4874,"museum":212,"description":4875,"tags":4876,"thumbUrl":4877,"material":120,"size":120,"collection":100,"collections":4878,"showCount":4840,"zanCount":11,"manualWeight":11,"mainColor":104},234254,"shan-shui-tu-ce-jin-xue-jian-234254","金学坚","金学坚，字成峰，秀水（浙江嘉兴）人。王翚弟子。山水初宗元人，后参宋法，笔意古健，布局极为绵密。",[23,24,28,381,30,94,184,35,7,60,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f66fd4c895d162d5784a0043b41cbd.jpg",[100,45],{"id":4880,"slug":4881,"title":4882,"dynasty":85,"author":2203,"museum":212,"description":4883,"tags":4884,"thumbUrl":4885,"material":120,"size":120,"collection":120,"collections":4886,"showCount":4840,"zanCount":11,"manualWeight":11,"mainColor":104},234224,"wen-zheng-ming-yu-xi-tu-juan-wen-zheng-ming-234224","文徵明雨溪图卷","文壁（1470年－1559年），字徵明，中年后以字行，更字徵仲，号衡山居士、停云生，直隶长州（今江苏苏州）人，祖籍湖广衡山（今湖南衡东），明代画家，与唐寅、沈周、仇英合称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苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 于是跨年夜过后，孩子们在街上游行，大喊大叫卖痴呆症。",[24,25,198,28,30,57,58,113,7,93,92,170,29,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe24ffa84bd65559c421b643f58bad25.jpg","纵113横28.7厘米",[100,44],{"id":4946,"slug":4947,"title":4948,"dynasty":129,"author":458,"museum":212,"description":2247,"tags":4949,"thumbUrl":4950,"material":678,"size":679,"collection":120,"collections":4951,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},237795,"hong-ren-shan-shui-shan-hong-ren-237795","弘仁山水扇",[24,25,154,1467,30,200,93,199,7,90,28,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee2deb1860be3554b6c635c695732f0.jpg",[],20,{"id":4954,"slug":4955,"title":4956,"dynasty":129,"author":3284,"museum":212,"description":4957,"tags":4958,"thumbUrl":4959,"material":120,"size":120,"collection":100,"collections":4960,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},236109,"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[24,28,94,198,30,35,270,229,7,869,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[100,78],{"id":4962,"slug":4963,"title":4964,"dynasty":129,"author":458,"museum":212,"description":2247,"tags":4965,"thumbUrl":4966,"material":678,"size":679,"collection":120,"collections":4967,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},235788,"hong-ren-nan-gang-qing-yun-tu-shan-ye-hong-ren-235788","弘仁南冈清韵图扇页",[24,25,1467,90,30,93,35,7,94,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c9cebec78b4c98d9b073af86409e76.jpg",[],{"id":4969,"slug":4970,"title":4971,"dynasty":85,"author":469,"museum":212,"description":4972,"tags":4973,"thumbUrl":4974,"material":120,"size":120,"collection":120,"collections":4975,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},234977,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234977","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,90,94,381,30,199,59,60,93,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eaf428da4b947634930dd08ae3803a.jpg",[],{"id":4977,"slug":4978,"title":4979,"dynasty":85,"author":4980,"museum":20,"description":4981,"tags":4982,"thumbUrl":4983,"material":118,"size":4984,"collection":120,"collections":4985,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":124},234228,"xi-shan-shen-xiu-juan-hou-mao-gong-234228","溪山深秀卷","侯懋功","北京故宫博物院藏晚明侯懋功名下的两件山水长卷内容与设色方式近乎一致，基本可判定二者出于同一稿本，属于书画鉴定中俗称的“双胞胎”，这两件作品分别现名为《邛崃图》和《溪山深秀图》。通过对两件作品现状及笔墨细节比较，笔者认为前者为真，且所绘与“邛崃”无关，应以《溪山深秀图》为是。从更广泛的艺术史角度看，侯氏《溪山深秀图》属于宋代以来流行的长卷“溪山图”画意范畴，并体现了明中后期吴门画派隐(避)居山水所发生的新变化。",[23,24,26,90,30,35,93,32,7,59,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5d1e0ed58bff06f6bd49f006660055.jpg","34 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258cm",[],{"id":4987,"slug":4988,"title":1037,"dynasty":85,"author":469,"museum":20,"description":4989,"tags":4990,"thumbUrl":4997,"material":4998,"size":3130,"collection":120,"collections":4999,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},234056,"shan-shui-ce-dong-qi-chang-234056","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,25,381,30,28,90,27,133,94,2936,139,4991,229,7,1852,4992,4162,4993,95,170,4994,282,4995,4996],"青山","坡石","松涧","云树","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg","纸本，水墨和设色",[],{"id":5001,"slug":5002,"title":3371,"dynasty":129,"author":252,"museum":20,"description":4353,"tags":5003,"thumbUrl":5004,"material":370,"size":937,"collection":120,"collections":5005,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},233124,"yuan-ji-shan-shui-ce-shi-tao-233124",[24,90,28,94,381,30,58,59,60,91,92,35,7,134,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29641db.jpg",[],{"id":5007,"slug":5008,"title":5009,"dynasty":129,"author":5010,"museum":266,"description":5011,"tags":5012,"thumbUrl":5013,"material":777,"size":5014,"collection":120,"collections":5015,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":48},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,198,90,28,29,94,30,57,35,113,255,7,32,93,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":5017,"slug":5018,"title":5019,"dynasty":129,"author":390,"museum":212,"description":5020,"tags":5021,"thumbUrl":5022,"material":678,"size":679,"collection":120,"collections":5023,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,28,29,94,26,30,58,59,60,596,92,35,7,72,33,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":5025,"slug":5026,"title":5027,"dynasty":129,"author":378,"museum":212,"description":5028,"tags":5029,"thumbUrl":5030,"material":120,"size":120,"collection":120,"collections":5031,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},230275,"shan-shui-ce-12-fu-zhu-da-230275","山水册12幅","此作用笔枯淡老辣，以焦墨勾勒皴擦山石轮廓，删繁就简，褪去繁杂修饰，只留山水神骨。萧疏古木枝桠奇崛扭曲，带着孤傲冷逸的姿态，山居错落隐于林麓之间，藏着幽僻野趣。\n\n画作留白开阔肆意，将天地空寂的氛围感拉满，寥寥数笔便铺展出荒寒山居的清冷意境，把遗世独立的心境融于淡墨疏林之中。笔意简远通透，以极简的水墨写意尽显空灵禅味，清冷幽寂的山水图景，尽显水墨写意的高妙格调，将孤寂澹泊的心绪藏于每一处淡笔枯墨之中。",[24,90,381,94,170,30,93,35,7,134,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21323aa743aff19ec0971a23cc6574f.jpg",[],{"id":5033,"slug":5034,"title":2442,"dynasty":129,"author":5035,"museum":212,"description":5036,"tags":5037,"thumbUrl":5038,"material":120,"size":120,"collection":120,"collections":5039,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},230113,"shan-shui-ce-ye-xi-gang-230113","奚冈","此作用淡墨晕染铺就底色，山峦以枯笔皴擦勾勒嶙峋肌理，留白衬出山涧飞瀑，似能闻声泠泠。坡岸杂木错落，虬曲与挺拔相映，淡墨点叶疏密有致，尽染清秋疏朗况味。\n\n左侧茅舍临水幽居，隔绝尘嚣；右侧板桥孤悬，更衬林泉静寂。右上角题字清雅，与山水意境相融，满溢文人书卷之气。\n\n整幅以简淡为骨，笔意松秀空灵，不事浓丽雕琢，将出世幽居之思寄于萧散山光水色，以笔墨写心，尽显静穆淡远的林下之风，藏着文人心底的丘壑。",[24,25,381,90,94,30,93,35,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba38e7a5a03f2ceeed631fcab0deec5.jpg",[],{"id":5041,"slug":5042,"title":5043,"dynasty":85,"author":2203,"museum":212,"description":5044,"tags":5045,"thumbUrl":5046,"material":678,"size":679,"collection":120,"collections":5047,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,1467,28,90,30,255,7,57,2610,35,93,138,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":5049,"slug":5050,"title":5051,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":5052,"thumbUrl":5055,"material":678,"size":679,"collection":680,"collections":5056,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},226011,"regatta-at-argenteuil-1872-mo-nai-226011","Regatta at Argenteuil, 1872",[2125,672,2476,835,5053,7,35,1554,57,1553,5054,332,1626,1629],"倒影","红屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48dce699643e52336f1f3c03f6f79c9.jpg",[680],{"id":5058,"slug":5059,"title":5060,"dynasty":668,"author":669,"museum":212,"description":670,"tags":5061,"thumbUrl":5066,"material":678,"size":679,"collection":680,"collections":5067,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},225735,"de-heuvel-van-montmartre-met-steengroeve-fan-gao-225735","De heuvel van Montmartre met steengroeve",[672,673,1713,5062,3684,7,57,5063,5064,1554,1553,3120,3673,5065,2331,35],"山坡","围栏","采石场","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e03ff0fe13bdf430a25b8a0496e9a.jpg",[680],{"id":5069,"slug":5070,"title":5071,"dynasty":129,"author":390,"museum":212,"description":5072,"tags":5073,"thumbUrl":5075,"material":120,"size":120,"collection":120,"collections":5076,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":48},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,154,24,25,26,29,28,56,30,58,57,1448,797,92,36,7,156,2479,1916,93,32,5074,35],"人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":5078,"slug":5079,"title":5080,"dynasty":210,"author":390,"museum":1051,"description":5081,"tags":5082,"thumbUrl":5083,"material":231,"size":120,"collection":100,"collections":5084,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":48},219938,"sheng-you-tu-yi-ming-219938","胜游图","此作用高远构景，层叠主峰如蟠踞巨兽，以利落斧劈皴勾勒山石肌理，浓墨晕染出苍莽厚重的质感。飞瀑自崖间垂落，破开山的沉郁静默。虬曲林木错落山间，苍松劲挺，点染出萧疏古雅的秋意。崖畔水滨各筑幽居，隐于林泉烟霭之间，暗合林泉高致的隐逸雅趣。通篇水墨简淡，空濛悠远的意境里，揉合了山川雄奇与林下闲逸，尽显文人避世寄情山水的幽怀。",[23,24,25,198,30,90,94,28,93,35,229,92,58,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a97e286122166a0963868c260fb265.jpg",[100],{"id":5086,"slug":5087,"title":1102,"dynasty":85,"author":5088,"museum":266,"description":5089,"tags":5090,"thumbUrl":5091,"material":231,"size":5092,"collection":100,"collections":5093,"showCount":4952,"zanCount":385,"manualWeight":11,"mainColor":48},219415,"shan-shui-zhou-zhao-xun-219415","赵洵","这幅山水轴铺展江南景致，笔墨温润雅致。远处山峦以淡墨皴染，层叠间透出苍莽的韵致；江面烟波浩渺，行舟点点如萍，或扬帆或泊岸，尽得水天之趣。近景林麓葱郁，村舍错落隐于浓荫，亭台与民居相映，几处人物或漫步小径、或聚于檐下，情态悠然。笔墨兼工带写，树木枝干苍劲，叶色层次丰富；山石用细皴勾勒，晕染出温润质感。画面左上方题字与钤印相映，添文人雅趣。整体意境平和悠远，如诗中田园，将自然之美与人间烟火融于一卷，尽显江南水乡的温婉与生机。",[24,28,94,198,30,35,346,57,351,134,892,7,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1a28851fde1e54756a28f63c3e8510.jpg","156.4x44.9厘米",[100],{"id":5095,"slug":5096,"title":5097,"dynasty":129,"author":4827,"museum":422,"description":4828,"tags":5098,"thumbUrl":5100,"material":98,"size":5101,"collection":120,"collections":5102,"showCount":4952,"zanCount":11,"manualWeight":11,"mainColor":104},214485,"he-yi-shan-shui-tu-ce-2-he-yi-214485","赫奕山水图册-2",[23,24,381,90,28,94,30,35,7,60,91,93,134,59,473,5099],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4892d0aedc2558783662d11734848d.jpg","34x25cm",[],{"id":5104,"slug":5105,"title":1338,"dynasty":129,"author":688,"museum":212,"description":5106,"tags":5107,"thumbUrl":5108,"material":678,"size":679,"collection":120,"collections":5109,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},289952,"shan-shui-tu-zhou-wang-shi-min-289952","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[23,154,24,25,198,90,30,94,184,35,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb2b1a39c23b566193185dba66f4bab.jpg",[],19,{"id":5112,"slug":5113,"title":5114,"dynasty":129,"author":979,"museum":212,"description":3713,"tags":5115,"thumbUrl":5116,"material":678,"size":679,"collection":100,"collections":5117,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":48},238536,"chun-jing-shan-shui-ce-qian-wei-cheng-238536","春景山水册",[24,25,381,90,96,30,255,7,134,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6372a28c538b6e9ca7385ebf67324e3.jpg",[100],{"id":5119,"slug":5120,"title":1102,"dynasty":129,"author":5121,"museum":20,"description":5122,"tags":5123,"thumbUrl":5124,"material":120,"size":120,"collection":100,"collections":5125,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":48},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,25,198,90,94,30,31,229,35,7,92,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[100,78],{"id":5127,"slug":5128,"title":5129,"dynasty":129,"author":5035,"museum":212,"description":5130,"tags":5131,"thumbUrl":5132,"material":120,"size":120,"collection":120,"collections":5133,"showCount":5110,"zanCount":385,"manualWeight":11,"mainColor":104},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[24,198,90,94,30,270,35,7,135,134,893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":5135,"slug":5136,"title":843,"dynasty":129,"author":252,"museum":20,"description":934,"tags":5137,"thumbUrl":5139,"material":3572,"size":937,"collection":120,"collections":5140,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},234997,"yuan-ji-shan-shui-tu-ce-shi-tao-234997",[24,25,381,90,94,30,91,60,93,35,675,7,5138],"水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60998edd7aa06ac4ca0e9c4fd7984022.jpg",[],{"id":5142,"slug":5143,"title":5144,"dynasty":129,"author":773,"museum":20,"description":5145,"tags":5146,"thumbUrl":5148,"material":118,"size":5149,"collection":120,"collections":5150,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,154,24,25,26,90,94,96,5147,95,170,30,215,269,199,92,7,59,60],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":5152,"slug":5153,"title":5154,"dynasty":129,"author":3284,"museum":20,"description":5155,"tags":5156,"thumbUrl":5157,"material":356,"size":120,"collection":120,"collections":5158,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},234111,"hua-hong-li-jiao-shi-ming-qin-shi-yi-juan-zhang-zong-cang-234111","画弘历蕉石鸣琴诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《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。",[24,25,26,28,30,92,35,723,7,869,170,95,96,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b204362fe8e043dbf4856d2c360dfbc.jpg",[],{"id":5160,"slug":5161,"title":1037,"dynasty":85,"author":469,"museum":20,"description":4989,"tags":5162,"thumbUrl":5163,"material":4998,"size":3130,"collection":120,"collections":5164,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},234055,"shan-shui-ce-dong-qi-chang-234055",[154,24,25,381,90,94,30,35,93,7,134,37,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c284092d9c32f1c2b5519282e29198.jpg",[],{"id":5166,"slug":5167,"title":1338,"dynasty":129,"author":130,"museum":20,"description":5168,"tags":5169,"thumbUrl":5170,"material":243,"size":5171,"collection":120,"collections":5172,"showCount":5110,"zanCount":385,"manualWeight":11,"mainColor":104},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[24,25,198,90,94,28,30,35,229,93,7,135,270,92,170,3120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":5174,"slug":5175,"title":5176,"dynasty":129,"author":828,"museum":212,"description":5177,"tags":5178,"thumbUrl":5179,"material":120,"size":120,"collection":120,"collections":5180,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},229020,"song-qiao-tang-tu-juan-wang-hui-229020","松乔堂图卷","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,26,28,30,94,255,93,7,134,35,92,60,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":5182,"slug":5183,"title":5184,"dynasty":129,"author":4535,"museum":212,"description":5185,"tags":5186,"thumbUrl":5187,"material":120,"size":120,"collection":120,"collections":5188,"showCount":5110,"zanCount":385,"manualWeight":11,"mainColor":104},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","仿董源山水图","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[23,24,25,198,90,94,30,255,7,93,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":5190,"slug":5191,"title":5192,"dynasty":129,"author":252,"museum":212,"description":5193,"tags":5194,"thumbUrl":5195,"material":120,"size":120,"collection":120,"collections":5196,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},224504,"shan-shui-ce-kai-liu-shi-tao-224504","山水冊开(六)","此作用淡赭轻晕山峦，焦墨点染林木，笔意纵肆苍秀。近观村舍错落溪畔，渔翁独棹扁舟泛于清波，丹崖翠岫间松柯虬劲，墨色苍润见层次。远景峰岫隐在烟岚留白中，晕出水气空濛的夏夕凉意。\n\n页首题诗与画境浑然相融，将山畔闲居、横塘晚风的清寂悠然铺展开来，以尺幅写尽江南水乡的淡远萧散，借山水寄寓胸中丘壑，尽显文人画幽淡旷达的意趣。",[24,25,381,90,28,94,30,91,35,7,184,60,833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7ed3d690ac35d0a82eb7f20090f30a.jpg",[],{"id":5198,"slug":5199,"title":5200,"dynasty":129,"author":252,"museum":212,"description":5201,"tags":5202,"thumbUrl":5203,"material":120,"size":120,"collection":120,"collections":5204,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},224499,"shan-shui-ce-kai-san-shi-tao-224499","山水冊开(三)","石涛（1642—177）名原济，号大涤子、清湘老人、苦瓜和尚、济山僧、瞎尊者等。\n石涛原名朱若极，明代藩靖江王后裔，父朱享嘉于南明隆武时在广西自称“监国”，遭俘杀。\n石涛便隐匿起来，后出家为僧。\n石涛曾游历过许多名山大川，有“搜尽奇峰打草稿”、“笔墨当随时代”名言。\n石涛晚年寓居扬州，卖画为业。\n这里介绍的石涛山水，是藏于故宫博物院、以唐代王维、李白、张说等人诗意创作的八开册页中的一页。\n每开册页纵2.厘米，横16.5厘米，纸本，水墨淡设色。\n石涛擅山水、花卉，师宋、元诸家，参以造化，自创一格，笔墨清新多变、天真烂漫，对后世影响极大。\n石涛与石溪并称“二石”，再加朱耷、弘仁，便称“清初四画僧”。\n石涛存世作品尚多，著述则有《苦瓜和尚画语录》、《 》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[23,24,90,28,94,381,30,91,114,7,93,35,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":5206,"slug":5207,"title":1338,"dynasty":129,"author":688,"museum":212,"description":5208,"tags":5209,"thumbUrl":5210,"material":120,"size":120,"collection":120,"collections":5211,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,154,24,25,198,90,30,35,93,7,135,255,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":5213,"slug":5214,"title":5215,"dynasty":129,"author":390,"museum":212,"description":5216,"tags":5217,"thumbUrl":5219,"material":120,"size":120,"collection":120,"collections":5220,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[23,24,25,90,28,30,94,1229,93,35,32,34,7,184,37,38,135,217,5218,3355],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":5222,"slug":5223,"title":5224,"dynasty":129,"author":2425,"museum":422,"description":2426,"tags":5225,"thumbUrl":5230,"material":356,"size":2437,"collection":120,"collections":5231,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},223029,"hong-lou-meng-154-sun-wen-223029","红楼梦154",[23,24,25,26,29,28,57,58,156,93,35,7,5226,5227,5228,5229],"院墙","门窗","古建筑","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6612e905a7c34b43c0c559e333aaba5e.jpg",[],{"id":5233,"slug":5234,"title":5235,"dynasty":129,"author":2425,"museum":422,"description":2426,"tags":5236,"thumbUrl":5238,"material":356,"size":2437,"collection":120,"collections":5239,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},222953,"hong-lou-meng-78-sun-wen-222953","红楼梦78",[23,29,28,56,57,58,59,35,156,2429,92,7,1916,1794,1744,5237,5229],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13e859bbe3be51184fcf4d9dec58bd.jpg",[],{"id":5241,"slug":5242,"title":5243,"dynasty":85,"author":5244,"museum":266,"description":5245,"tags":5246,"thumbUrl":5247,"material":28,"size":5248,"collection":120,"collections":5249,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},222453,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222453","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,26,4215,28,30,94,255,7,93,35,156,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcab0898e7d65be553a4c97defc3988.jpg","27.1x161.2",[],{"id":5251,"slug":5252,"title":5253,"dynasty":129,"author":458,"museum":20,"description":3323,"tags":5254,"thumbUrl":5255,"material":370,"size":3327,"collection":120,"collections":5256,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},220311,"huang-shan-tu-ce-16-hong-ren-220311","黄山图册-16",[23,24,90,94,381,30,93,35,7,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77342e70150517872aaa63595c94682.jpg",[],{"id":5258,"slug":5259,"title":5260,"dynasty":129,"author":5261,"museum":446,"description":5262,"tags":5263,"thumbUrl":5264,"material":172,"size":5265,"collection":100,"collections":5266,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":48},220079,"yao-feng-sheng-jing-tu-jiang-shi-jie-220079","尧峰胜景图","姜实节","姜实节（1647～1709）字学在，号鹤涧，山东莱阳人，居吴中（今江苏苏州），姜埰子。有孝行，笃友谊。明礼科给事中，入清隐遁，不入城市，布衣终老。晚岁于虎邱筑谏草楼，吴人谥之曰孝正。\n善书，笔势如篆籀。画山水法云林（倪瓒），峯峦简淡，林木萧竦，备清旷之致。落笔不甚谨严，处处有荒率态，盖荒率本是其所长，亦是其所短也。工诗，有焚余草，卒年六十三。《苏州府志》、《国[清]朝画徵续录、桐阴论画》、《国[清]朝别裁诗传》、《朴庵文集》、《樊榭山房集》、《清朝书画家笔录》",[23,24,90,94,95,170,30,59,60,7,35,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab0b0cc5bcabba13a8d147817ed15e5.jpg","54.0X24.2",[100],{"id":5268,"slug":5269,"title":5270,"dynasty":85,"author":645,"museum":266,"description":5271,"tags":5272,"thumbUrl":5273,"material":231,"size":5274,"collection":120,"collections":5275,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},218179,"chun-xiao-tu-2-chou-ying-218179","纯孝图-2","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[24,25,29,28,57,62,114,596,5062,7,96,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffeae386b6ebd4cb012fe42050fa7b4.jpg","32.8x21.9",[],{"id":5277,"slug":5278,"title":5279,"dynasty":129,"author":828,"museum":689,"description":4648,"tags":5280,"thumbUrl":5281,"material":98,"size":4651,"collection":120,"collections":5282,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},217213,"fang-gu-shan-shui-shi-er-kai-wu-wang-hui-217213","仿古山水十二开(五)",[24,25,381,94,28,30,91,675,35,7,216,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9aebe68762b55eb17a1ff7c3a0c1ed8.jpg",[],{"id":5284,"slug":5285,"title":5286,"dynasty":129,"author":1258,"museum":226,"description":5287,"tags":5288,"thumbUrl":5289,"material":98,"size":120,"collection":120,"collections":5290,"showCount":5110,"zanCount":385,"manualWeight":11,"mainColor":104},215029,"fang-gu-shan-shui-ce-2-wang-jian-215029","仿古山水册-2","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。",[24,25,90,381,94,30,59,60,35,93,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fe7bd5b581ad26988b86ab76e700f4.jpg",[],{"id":5292,"slug":5293,"title":5294,"dynasty":129,"author":4827,"museum":422,"description":4828,"tags":5295,"thumbUrl":5296,"material":98,"size":5101,"collection":120,"collections":5297,"showCount":5110,"zanCount":11,"manualWeight":11,"mainColor":104},214484,"he-yi-shan-shui-tu-ce-3-h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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》）",[23,24,25,26,90,28,94,95,96,30,184,32,346,35,7,255,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":5364,"slug":5365,"title":5366,"dynasty":210,"author":4159,"museum":212,"description":5367,"tags":5368,"thumbUrl":5369,"material":370,"size":5370,"collection":120,"collections":5371,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":48},231593,"yun-shan-tu-gao-ke-gong-231593","云山图","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[23,154,24,25,90,30,94,215,1041,199,7,269,1040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":5373,"slug":5374,"title":5375,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":5376,"thumbUrl":5378,"material":678,"size":679,"collection":680,"collections":5379,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":48},225916,"claude-monet-the-house-among-the-roses-1925-mo-nai-225916","Claude Monet -The House among the Roses, 1925",[2125,672,28,5377,1554,1553,7],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060e674ca2c196be5d4d77e986633f04.jpg",[680],{"id":5381,"slug":5382,"title":5383,"dynasty":668,"author":669,"museum":212,"description":670,"tags":5384,"thumbUrl":5388,"material":678,"size":679,"collection":680,"collections":5389,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":48},225773,"landscape-at-saint-re-my-enclosed-field-with-peasant-fan-gao-225773","Landscape at Saint-Rémy (Enclosed Field with 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1889",[673,672,1713,3303,1549,648,5403,7,1553,5387,1554,1749,5404],"柏树","乡村景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d65c08f6c36af04b692061c139fc88f.jpg",[680],{"id":5408,"slug":5409,"title":5410,"dynasty":668,"author":390,"museum":212,"description":5411,"tags":5412,"thumbUrl":5413,"material":120,"size":120,"collection":120,"collections":5414,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":104},225303,"fu-shi-hui-28-yi-ming-225303","浮世绘28","这是一幅氤氲着水汽的郊野水乡图景。低缓柔媚的远山晕开暖粉霞光，将清浅暮色揉进青绿坡峦。黛色屋舍错落栖于洲渚，屋畔林木蓊郁苍润，漾开的水波里，一棹扁舟静浮，渔翁独守着满水闲寂。\n\n画面用色清和雅致，平涂晕染间带着侘寂诗意，将郊野日常的闲逸铺陈开来。疏朗的构图里藏着温润安宁，仿佛能漫出水汽与草木清香，把自然村居的禅意融在方寸画间，尽显和风的幽玄雅致。",[3474,3475,28,30,7,32,91,35,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07c8c4f0c1a7aba20e07bf3f989d0e3.jpg",[],{"id":5416,"slug":5417,"title":5418,"dynasty":129,"author":252,"museum":212,"description":5419,"tags":5420,"thumbUrl":5421,"material":120,"size":120,"collection":120,"collections":5422,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":104},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,25,381,90,28,94,30,91,60,7,35,115,93,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":5424,"slug":5425,"title":5426,"dynasty":129,"author":1339,"museum":212,"description":5427,"tags":5428,"thumbUrl":5429,"material":120,"size":120,"collection":120,"collections":5430,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":104},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,24,25,198,90,94,30,59,60,35,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":5432,"slug":5433,"title":5434,"dynasty":129,"author":1258,"museum":212,"description":5435,"tags":5436,"thumbUrl":5438,"material":120,"size":120,"collection":120,"collections":5439,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":104},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[154,24,25,198,595,28,94,133,215,134,5437,255,521,229,60,7,270],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":5441,"slug":5442,"title":1781,"dynasty":129,"author":5443,"museum":212,"description":5444,"tags":5445,"thumbUrl":5446,"material":438,"size":120,"collection":45,"collections":5447,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":104},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[23,24,90,198,30,35,92,93,7,425,255,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg",[45],{"id":5449,"slug":5450,"title":5451,"dynasty":210,"author":390,"museum":212,"description":5452,"tags":5453,"thumbUrl":5454,"material":777,"size":5455,"collection":120,"collections":5456,"showCount":5305,"zanCount":385,"manualWeight":11,"mainColor":48},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","仿巨然山水图","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[23,24,595,28,94,93,35,59,60,92,869,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":5458,"slug":5459,"title":5460,"dynasty":85,"author":4030,"museum":20,"description":5461,"tags":5462,"thumbUrl":5464,"material":118,"size":5465,"collection":120,"collections":5466,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":48},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,26,28,29,25,96,1116,170,58,35,4598,59,60,7,156,425,1272,5463,5229,351,1749],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":5468,"slug":5469,"title":5470,"dynasty":85,"author":469,"museum":529,"description":5471,"tags":5472,"thumbUrl":5473,"material":381,"size":533,"collection":120,"collections":5474,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":120},220750,"fang-ge-jia-shan-shui-6-dong-qi-chang-220750","仿各家山水-6","此作用笔松秀虚和，以干笔淡墨勾勒皴擦。近岸老木虬曲偃蹇，枝叶苍郁间伴以修松清挺，林侧茅舍隐现，浅草萦回于水畔。中远景平坡澹荡，遥岫浮空，寥寥数笔便晕染出空濛淡远的平野之境。\n整体取平远章法，墨色清润淡雅，萧散简淡，将江南水畔清寂幽远的诗意尽数铺陈，尽显文人画空灵悠远的雅逸格调，寄寓着林泉高致的幽怀。",[23,24,25,90,30,133,94,381,35,93,7,216,134,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d42de66c74884278b37e641dfc193bc.jpg",[],{"id":5476,"slug":5477,"title":5478,"dynasty":129,"author":5479,"museum":266,"description":5480,"tags":5481,"thumbUrl":5483,"material":98,"size":5484,"collection":120,"collections":5485,"showCount":5305,"zanCount":385,"manualWeight":11,"mainColor":104},219486,"qiu-ri-shan-ju-zhou-huang-ding-219486","秋日山居轴","黄鼎","此作用笔沉厚细腻，主峰雄峙云端，斧劈皴刻画出山石冷峻筋骨，两道飞瀑垂挂崖间，为沉静山林注入灵动生机。苍松虬枝舒展如盖，丹叶秋林点染暖意，晕开融融秋意。山坳间屋舍错落，板桥横卧浅溪，溪石隐现似漾着潺潺水音，将幽寂山林与闲淡山居揉合一处。远景峰峦叠嶂渐隐烟岚，留白晕染出空濛悠远的诗意。\n画作兼取先贤笔墨意趣，融苍郁繁复与秀润简淡于一体，设色雅致清和，铺展出秋日山居的安闲静谧，将文人寄情林泉、归卧丘山的隐逸之思藏入每一处勾勒晕染中。",[24,25,154,198,30,28,94,93,35,1272,1168,59,60,229,1969,7,135,5482,29],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff442355ddacad4cede5834c399118b29.jpg","64.5x38",[],{"id":5487,"slug":5488,"title":5489,"dynasty":129,"author":5490,"museum":226,"description":5491,"tags":5492,"thumbUrl":5494,"material":98,"size":5495,"collection":100,"collections":5496,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":48},218311,"han-shan-si-tu-gu-zhong-quan-218311","寒山寺图","顾仲泉","月色轻笼层峦，远山如黛晕染朦胧。河面波光微漾，一叶扁舟张帆缓行，似载着晚归的思绪。岸边疏林掩映屋宇，禅意隐于其间。近景石砌水门轮廓苍劲，与远处静谧相映成趣。笔墨淡雅却含情致，江南水乡的清寂与古寺的悠远融于一卷。晚风仿佛拂过帆樯，隐约传来钟鸣，引人沉入悠然夜色，心绪随波轻漾，沉醉在画中禅意与诗意交织的静谧里。",[24,25,198,28,30,56,5493,91,58,59,60,35,7,346,66,134,892],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[100],{"id":5498,"slug":5499,"title":5500,"dynasty":129,"author":828,"museum":689,"description":4648,"tags":5501,"thumbUrl":5504,"material":98,"size":4651,"collection":120,"collections":5505,"showCount":5305,"zanCount":11,"manualWeight":11,"mainColor":104},217206,"fang-gu-shan-shui-shi-er-kai-shi-er-wang-hui-217206","仿古山水十二开(十二)",[24,90,94,381,30,7,35,294,62,57,113,92,138,184,3031,5502,134,869,5503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明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[23,24,198,90,30,4069,116,7,134,170,95,94,5524],"清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a14128aeb069047921dc97c301c36.jpg",[],{"id":5528,"slug":5529,"title":2889,"dynasty":85,"author":2890,"museum":212,"description":5530,"tags":5531,"thumbUrl":5533,"material":678,"size":679,"collection":120,"collections":5534,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","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。",[23,24,26,595,133,90,28,94,184,958,217,7,5532,135,675,96,95,170],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":5536,"slug":5537,"title":3126,"dynasty":85,"author":469,"museum":212,"description":3546,"tags":5538,"thumbUrl":5539,"material":678,"size":679,"collection":120,"collections":5540,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},283721,"fang-gu-shan-shui-ce-dong-qi-chang-283721",[24,381,90,30,35,7,184,94,170,95,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5863dcecefd581d26dc3b868ce3a66c.jpg",[],{"id":5542,"slug":5543,"title":1037,"dynasty":129,"author":5544,"museum":212,"description":5545,"tags":5546,"thumbUrl":5547,"material":120,"size":120,"collection":100,"collections":5548,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},237973,"shan-shui-ce-zhang-geng-237973","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,90,94,381,30,134,2093,35,7,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acb599bd7ac62d645f8a8d69aa34971.jpg",[100],{"id":5550,"slug":5551,"title":843,"dynasty":129,"author":252,"museum":212,"description":414,"tags":5552,"thumbUrl":5553,"material":120,"size":120,"collection":120,"collections":5554,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},237764,"yuan-ji-shan-shui-tu-ce-shi-tao-237764",[24,25,381,90,94,30,59,60,7,35,93,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac1ee90f748a167e69acc2042541dba.jpg",[],{"id":5556,"slug":5557,"title":5558,"dynasty":129,"author":828,"museum":266,"description":5559,"tags":5560,"thumbUrl":5561,"material":370,"size":5562,"collection":100,"collections":5563,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},237348,"shan-tang-xiao-chou-zhou-wang-hui-237348","山塘校讐轴","王翚出身于绘画世家。祖上五代擅画，曾祖王伯臣善画花鸟，祖父王载仕擅长山水、人物、花卉；生父王云客善画山水。少时先拜同里张珂为师，专摹元代黄公望的山水画。21岁时以小景扇面见赏于王鉴，被收为弟子，后又师事王时敏，得以饱览其家传真迹，对传统古画的鉴赏、临摹，功力极深，宋以来许多失传的古画，借王翚的临摹得以传世。笔参古今，貌含南北，时人吴梅村称为“画圣”，画技之精熟为清代第一。清代张庚的《国朝画征录》 评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[24,25,198,90,94,30,200,114,723,7,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[100],{"id":5565,"slug":5566,"title":5567,"dynasty":129,"author":828,"museum":266,"description":5568,"tags":5569,"thumbUrl":5570,"material":370,"size":120,"collection":100,"collections":5571,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚 在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,381,90,133,94,170,30,92,199,113,134,892,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[100],{"id":5573,"slug":5574,"title":1037,"dynasty":129,"author":167,"museum":212,"description":5575,"tags":5576,"thumbUrl":5577,"material":120,"size":120,"collection":100,"collections":5578,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},235104,"shan-shui-ce-wang-yuan-qi-235104","此作用笔苍厚老辣，以干笔积墨反复皴擦，将山石的嶙峋质感晕染得浑厚苍润。远景峰峦以浅赭淡墨轻勾，烟岚留白晕出空濛山意，虚实间铺展悠远天际。近景茂林环拥山居，飞瀑穿林漱石，汇入平湖，鲜活灵动的水色消解了山林的沉郁。\n设色清淡雅致，浅施赭石敷色，一派江南山居的闲静气象。画中藏着文人胸中丘壑，将林泉高致凝于尺幅间，观之如临幽林，可听泉声、揽山云，沉浸式体味出世闲逸的林下雅趣。",[24,25,381,90,28,94,30,35,93,60,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db070a5ca5283865350fec66c9915b.jpg",[100],{"id":5580,"slug":5581,"title":5582,"dynasty":85,"author":5583,"museum":212,"description":5584,"tags":5585,"thumbUrl":5586,"material":118,"size":120,"collection":120,"collections":5587,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[23,24,26,90,94,133,170,30,35,7,91,59,675,134,37,1272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":5589,"slug":5590,"title":852,"dynasty":129,"author":252,"museum":212,"description":853,"tags":5591,"thumbUrl":5592,"material":370,"size":857,"collection":120,"collections":5593,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},233384,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233384",[24,90,94,381,170,30,7,35,3325,60,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a4c8528fd2d713c7fc6167e55db4.jpg",[],{"id":5595,"slug":5596,"title":3371,"dynasty":129,"author":252,"museum":20,"description":4353,"tags":5597,"thumbUrl":5598,"material":370,"size":937,"collection":120,"collections":5599,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},233128,"yuan-ji-shan-shui-ce-shi-tao-233128",[24,25,381,90,28,94,30,59,60,7,113,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4ac134c0a0d2cc60b898eb588378dc.jpg",[],{"id":5601,"slug":5602,"title":5603,"dynasty":18,"author":390,"museum":266,"description":5604,"tags":5605,"thumbUrl":5606,"material":370,"size":5607,"collection":120,"collections":5608,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,90,94,26,30,2476,58,7,93,35,32,134,37,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":5610,"slug":5611,"title":4474,"dynasty":129,"author":5612,"museum":212,"description":5613,"tags":5614,"thumbUrl":5615,"material":120,"size":120,"collection":120,"collections":5616,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},230186,"shan-shui-li-zhou-zhang-yin-230186","张崟","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,24,28,94,198,30,255,59,60,7,57,93,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.jpg",[],{"id":5618,"slug":5619,"title":5620,"dynasty":129,"author":390,"museum":212,"description":5621,"tags":5622,"thumbUrl":5628,"material":678,"size":679,"collection":5629,"collections":5630,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":48},229214,"qian-long-yao-fa-lang-cai-kai-guang-san-yang-tu-chang-fang-he-yi-ming-229214","乾隆窑 珐瑯彩开光三羊图长方盒","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[5623,5624,28,5625,5626,394,5627,57,35,7],"珐琅彩","开光","陶瓷","珐琅器","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f7699f66d78bdff9e1da6c0f32f0db.jpg","瓷器精选",[5629],{"id":5632,"slug":5633,"title":5634,"dynasty":129,"author":167,"museum":212,"description":5635,"tags":5636,"thumbUrl":5637,"material":120,"size":120,"collection":120,"collections":5638,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[23,24,25,26,28,30,94,133,170,96,95,215,269,35,7,58,59,92,135,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":5640,"slug":5641,"title":5642,"dynasty":129,"author":5643,"museum":212,"description":5644,"tags":5645,"thumbUrl":5646,"material":120,"size":120,"collection":120,"collections":5647,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[24,28,27,30,381,94,59,60,91,92,675,199,7,797,200,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":5649,"slug":5650,"title":5651,"dynasty":210,"author":4159,"museum":212,"description":5652,"tags":5653,"thumbUrl":5654,"material":120,"size":120,"collection":120,"collections":5655,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":104},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,25,381,90,28,30,59,60,91,35,7,37,134,95,96,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":5657,"slug":5658,"title":5659,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":5660,"thumbUrl":5666,"material":678,"size":679,"collection":680,"collections":5667,"showCount":5517,"zanCount":11,"manualWeight":11,"mainColor":338},225935,"giverny-roses-and-waterlilies-mo-nai-225935","Giverny, Roses and 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创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[24,25,198,90,94,30,93,35,7,60,116,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":5785,"slug":5786,"title":843,"dynasty":129,"author":252,"museum":20,"description":934,"tags":5787,"thumbUrl":5788,"material":3572,"size":937,"collection":120,"collections":5789,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},235002,"yuan-ji-shan-shui-tu-ce-shi-tao-235002",[24,90,381,94,30,114,7,93,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88700a465848b4bfef96013a08e833f.jpg",[],{"id":5791,"slug":5792,"title":5793,"dynasty":85,"author":4622,"museum":212,"description":5794,"tags":5795,"thumbUrl":5796,"material":678,"size":679,"collection":120,"collections":5797,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},234842,"she-se-shan-shui-shan-ye-zhao-zuo-234842","设色山水扇页","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[24,1467,28,30,94,114,93,57,134,1873,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40447eb24194def73a273649f11f6185.jpg",[],{"id":5799,"slug":5800,"title":5801,"dynasty":85,"author":5802,"museum":212,"description":5803,"tags":5804,"thumbUrl":5805,"material":678,"size":679,"collection":120,"collections":5806,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":48},234839,"shan-shui-shan-mian-wei-zhi-huang-234839","山水扇面","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,1467,90,30,35,7,59,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff739d6ab5a66ed9fd5bc38b5f836358.jpg",[],{"id":5808,"slug":5809,"title":5810,"dynasty":129,"author":3954,"museum":20,"description":5811,"tags":5812,"thumbUrl":5813,"material":40,"size":5814,"collection":120,"collections":5815,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},234332,"tian-bao-jiu-ru-tu-zhou-fang-cong-234332","天保九如图轴","此幅是作者根据《诗经•小雅•天保》：“天保定尔，以莫不兴。如山如阜，如冈如陵，如川之方至，以莫不增……如月之恒，如日之升，如南山之寿，不骞不崩，如松柏之茂，无不尔或承”的诗意所绘。图绘高山流水、旭日东升、屋内主人手持如意正接受众人拜贺的情景。本幅意在宣扬臣子祝颂君主及君主“敬天保民”的统治理念。作者以山冈、松树、如意、桃、鹤等被赋予长寿吉祥之意的景物为主人营造了一个可居可游的人间仙境。构图取景深远，画风归属清初“四王”中王原祁所引领的“娄东派”一路。山石树木以干笔枯墨或汁绿色皴擦渲染，墨与色交织，表现出深远的意境和深厚的气韵。此画为乾隆皇帝所赏识，被清内府收藏。",[24,198,28,30,94,215,269,229,59,92,199,7,723,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a999bd621af7ba79747ed64ff6decf0.jpg","纵146.4厘米，横50.5厘米",[],{"id":5817,"slug":5818,"title":5819,"dynasty":85,"author":5820,"museum":20,"description":5821,"tags":5822,"thumbUrl":5823,"material":118,"size":120,"collection":120,"collections":5824,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[23,24,25,26,90,30,57,7,35,94,59,60,217,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":5826,"slug":5827,"title":5828,"dynasty":85,"author":5829,"museum":20,"description":5830,"tags":5831,"thumbUrl":5832,"material":118,"size":120,"collection":120,"collections":5833,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":48},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[23,154,24,25,26,28,30,94,93,255,58,59,60,7,70,2318,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":5835,"slug":5836,"title":5144,"dynasty":129,"author":130,"museum":20,"description":5837,"tags":5838,"thumbUrl":5839,"material":118,"size":5840,"collection":120,"collections":5841,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,26,90,30,94,95,96,170,215,269,35,92,59,60,91,270,7,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":5843,"slug":5844,"title":5845,"dynasty":129,"author":3284,"museum":20,"description":5155,"tags":5846,"thumbUrl":5847,"material":356,"size":120,"collection":120,"collections":5848,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":48},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷",[154,24,25,26,90,28,30,255,58,59,60,91,92,170,35,7,346,134,892,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":5850,"slug":5851,"title":3371,"dynasty":129,"author":252,"museum":20,"description":4353,"tags":5852,"thumbUrl":5853,"material":370,"size":937,"collection":120,"collections":5854,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},233127,"yuan-ji-shan-shui-ce-shi-tao-233127",[24,25,381,90,28,94,30,91,184,35,7,37,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg",[],{"id":5856,"slug":5857,"title":3126,"dynasty":129,"author":688,"museum":212,"description":5858,"tags":5859,"thumbUrl":5860,"material":120,"size":120,"collection":120,"collections":5861,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[24,25,832,28,30,94,7,35,60,93,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b30a7edaa0aac1a21f11cf6e484343d.jpg",[],{"id":5863,"slug":5864,"title":5865,"dynasty":18,"author":390,"museum":212,"description":5866,"tags":5867,"thumbUrl":5868,"material":120,"size":120,"collection":120,"collections":5869,"showCount":5714,"zanCount":385,"manualWeight":11,"mainColor":48},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,25,1467,29,28,57,63,3946,59,60,35,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":5871,"slug":5872,"title":5873,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":5874,"thumbUrl":5877,"material":678,"size":679,"collection":680,"collections":5878,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},226120,"the-spring-at-vetheuil-1881-mo-nai-226120","The Spring at Vetheuil, 1881",[2125,672,4383,4382,835,5053,35,2792,7,5875,1553,1554,5876],"尖顶建筑","春季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5ff7e7c862b0d520f2742223eb3f86.jpg",[680],{"id":5880,"slug":5881,"title":5882,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":5883,"thumbUrl":5886,"material":678,"size":679,"collection":680,"collections":5887,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},225974,"le-petit-ailly-varengeville-in-the-sun-1897-mo-nai-225974","Le Petit Ailly, Varengeville, in the Sun, 1897",[672,2125,3325,7,5884,2476,5885,38,1550],"海洋","阳光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b3005428b202fab0330717460e74b0.jpg",[680],{"id":5889,"slug":5890,"title":5891,"dynasty":129,"author":252,"museum":212,"description":5892,"tags":5893,"thumbUrl":5894,"material":120,"size":120,"collection":120,"collections":5895,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},224503,"shan-shui-ce-kai-ba-shi-tao-224503","山水冊开(八)","此作用笔清润秀雅，以淡墨晕染远山，将春山笼在烟岚薄雾之中。江岸村落隐于林莽间，江渚渔舟系泊静卧，近岸茅舍错落，柔柳轻拂堤岸，浅赭淡绿敷色晕染，晕开春日融融暖意。\n\n右上题诗与画面相生，将江畔春景揉进诗意之中，简淡空灵间尽显田园意趣。笔墨简而意足，淡而弥厚，把江南春日的缱绻春深藏在浅淡晕染里，将乡野间恬然闲静的春日氛围铺陈开来，让观者仿若踏入这烟柳春江，沉醉在这份闲寂又充满生机的乡野春光中。",[23,24,25,381,90,28,94,95,170,30,91,60,7,35,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7cb140b5bf9176162a92b4b69e5d7.jpg",[],{"id":5897,"slug":5898,"title":5899,"dynasty":18,"author":390,"museum":20,"description":5900,"tags":5901,"thumbUrl":5903,"material":40,"size":5904,"collection":120,"collections":5905,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},223522,"wu-tong-ting-yuan-tu-ye-yi-ming-223522","梧桐庭院图页","图中绘有歇山式、四角攒尖式顶的建筑，描写具体而精致。画家以直线、横线、斜线、弧线等多种线条准确地勾勒，并将它们有机地组合在一起，通过轮廓的轻重、线条的疏密，清楚地交代出殿阁远近纵深的层次和“向背分明”的体积感，比例准确合度。虽然从构图和技法上分析，此幅应出自南宋画家之手，而不是李佐贤所定的“恕老”作，但仍可谓是传郭忠恕之衣钵。",[23,154,24,25,1229,29,90,28,56,5902,156,351,35,93,7],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F235ac18ea34cfa2c76f12f7aedadc6e1.jpg","纵24cm，横19.3cm",[],{"id":5907,"slug":5908,"title":5909,"dynasty":85,"author":390,"museum":540,"description":5910,"tags":5911,"thumbUrl":5912,"material":356,"size":5913,"collection":100,"collections":5914,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":48},223362,"hui-ji-shan-tu-shou-juan-quan-juan-yi-ming-223362","会稽山图手卷全卷","图绘绍兴会稽山景色。远处山峦起伏，满山苍翠；数条河流将群山隔开，河面修长平静，数只船只来往忙碌；近处数座房屋座落于山脚河岸边，背山面水，景色优美，为宜居胜地。技法上，以细皴绘山脉，线条柔和，层次清晰。",[23,24,26,154,595,90,94,184,32,346,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c41ff2d27b892270217b7097c0f66a.jpg","49.2×712.2",[100],{"id":5916,"slug":5917,"title":5918,"dynasty":129,"author":2425,"museum":422,"description":2426,"tags":5919,"thumbUrl":5929,"material":356,"size":2437,"collection":120,"collections":5930,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":104},222941,"hong-lou-meng-66-sun-wen-222941","红楼梦66",[23,29,28,57,62,5920,35,7,2479,5921,5922,5923,5237,5924,1063,2341,1554,351,5925,5926,5927,5928],"轿子","侍从","官员","百姓","抬轿","传统服饰","仪仗","骑马","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3077a0780ad3e7dda59e8ad480e3a44f.jpg",[],{"id":5932,"slug":5933,"title":5934,"dynasty":129,"author":828,"museum":226,"description":4311,"tags":5935,"thumbUrl":5936,"material":98,"size":120,"collection":120,"collections":5937,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":48},214601,"fang-gu-shan-shui-ce-4-wang-hui-214601","仿古山水册-4",[24,381,30,90,28,133,94,59,60,93,229,35,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb92338e3965f50d1b87453e6a88b9d0.jpg",[],{"id":5939,"slug":5940,"title":5941,"dynasty":85,"author":469,"museum":87,"description":5942,"tags":5943,"thumbUrl":5945,"material":120,"size":120,"collection":100,"collections":5946,"showCount":5714,"zanCount":11,"manualWeight":11,"mainColor":5947},203466,"xiao-jing-ba-fu-ce-dong-qi-chang-203466","小景八幅册","董其昌此册页小景，笔墨兼具南北宗之妙。左幅水墨疏朗，山石以披麻皴写就，线条清劲秀逸，平远构图中村落隐现，意境空灵悠远；右幅设色淡雅，红绿点染秋叶，树木姿态古拙，山石结构简括，自然生机与文人简淡相融。画面以书入画，笔墨韵律天成，小景中见大格局，尽显晚明文人画的空灵雅韵，是其“以画为乐”理念的生动体现。",[23,24,25,381,90,28,94,472,30,93,35,7,134,473,60,5944,255,835],"红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fe7ab7651450e8bb454fd86615685e.jpg",[100],"c1bcb3",{"id":5949,"slug":5950,"title":5951,"dynasty":18,"author":390,"museum":266,"description":5952,"tags":5953,"thumbUrl":5955,"material":158,"size":5956,"collection":42,"collections":5957,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":48},290986,"xue-zhan-niu-che-tu-yi-ming-290986","雪栈牛车图","寒天积雪，林木萧索，远方丘陵起伏，牛车行旅络绎不绝，往返於雪径上；庄院内牛骡或卧或息，檐前二人握手倾谈旅况。画家以叙述性的手法，详实地掌握了严冬季节，郊野行旅的活动景况。 幅中坡石皆用斧劈法侧斜横皴，用笔凝重，墨色浓郁，画法齐整严谨。以笔墨论，或是出於南宋后期受李唐风格影响者所作。",[24,595,90,556,5954,63,596,184,113,7,1914,93],"牛车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[42],15,{"id":5960,"slug":5961,"title":1804,"dynasty":210,"author":1805,"museum":212,"description":5962,"tags":5963,"thumbUrl":5965,"material":678,"size":679,"collection":120,"collections":5966,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":104},289012,"jia-he-ba-jing-tu-wu-zhen-289012","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。",[23,154,24,26,25,90,30,134,58,59,60,92,675,7,35,95,170,96,5147,5964],"水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc8353ae0102fb4a9641a461d079bf.jpg",[],{"id":5968,"slug":5969,"title":5970,"dynasty":129,"author":3603,"museum":212,"description":5971,"tags":5972,"thumbUrl":5974,"material":120,"size":120,"collection":45,"collections":5975,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":124},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,25,26,28,30,29,57,62,5973,35,93,37,7,135,170,154],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[45],{"id":5977,"slug":5978,"title":5979,"dynasty":85,"author":5980,"museum":212,"description":5981,"tags":5982,"thumbUrl":5984,"material":120,"size":120,"collection":100,"collections":5985,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":48},239225,"ju-jie-shan-shui-zhou-ju-jie-239225","居节山水轴","居节","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[154,24,25,198,90,94,30,93,35,113,7,138,5983],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[100],{"id":5987,"slug":5988,"title":5989,"dynasty":129,"author":2409,"museum":212,"description":2410,"tags":5990,"thumbUrl":5991,"material":120,"size":120,"collection":100,"collections":5992,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":104},238414,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238414","董诰蓬壶荟胜图册",[24,28,30,381,94,184,35,7,91,37,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b57bd7c4262f4b634c1cac62844ecf.jpg",[100,45],{"id":5994,"slug":5995,"title":5996,"dynasty":85,"author":390,"museum":212,"description":5997,"tags":5998,"thumbUrl":5999,"material":678,"size":679,"collection":120,"collections":6000,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":104},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[24,25,198,28,29,94,30,57,58,35,156,134,37,7,566,1794,113,255,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":6002,"slug":6003,"title":843,"dynasty":129,"author":252,"museum":212,"description":414,"tags":6004,"thumbUrl":6005,"material":120,"size":120,"collection":120,"collections":6006,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":104},237768,"yuan-ji-shan-shui-tu-ce-shi-tao-237768",[154,24,25,381,90,28,94,30,116,7,35,134,2093,835,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdf237b23a0eee60675e6fe8c367619.jpg",[],{"id":6008,"slug":6009,"title":1102,"dynasty":129,"author":3594,"museum":212,"description":6010,"tags":6011,"thumbUrl":6012,"material":186,"size":120,"collection":100,"collections":6013,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":104},237688,"shan-shui-zhou-sun-yi-237688","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[24,25,198,90,94,30,199,200,1272,7,93,59,60,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[100],{"id":6015,"slug":6016,"title":6017,"dynasty":129,"author":6018,"museum":212,"description":6019,"tags":6020,"thumbUrl":6021,"material":678,"size":679,"collection":120,"collections":6022,"showCount":5958,"zanCount":385,"manualWeight":11,"mainColor":104},237491,"fang-cha-shi-biao-shan-shui-shan-wu-da-cheng-237491","仿查士标山水扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n在第二次鸦片战争之后的1886年，吴大澂与沙俄谈判。他据理力争，迫使沙俄重立土字碑、并对中国的出海权进行妥协：图们江口的出海权虽不能共享，但中国船只可以借道出海，俄国不得阻止。吴大澂又设法延长谈判，迫使沙俄归还了黑顶子山地区（今吉林珲春敬信镇）。其战略眼光与爱国精神令后人称颂。",[24,1467,90,30,133,199,93,7,134,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e33f5203017dc01a2a7c4c8e095cef.jpg",[],{"id":6024,"slug":6025,"title":6026,"dynasty":129,"author":1258,"museum":20,"description":6027,"tags":6028,"thumbUrl":6029,"material":6030,"size":6031,"collection":120,"collections":6032,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":104},234701,"fang-mei-dao-ren-shan-shui-zhou-wang-jian-234701","仿梅道人山水轴","王鉴（1598年—1677年），字玄照，后改字园照，元照，号湘碧，又号香庵主。明末清初著名画家。江苏太仓人，出生于以衣冠诗书著称的太仓王氏家族。崇祯六年（公元1633年）举人，后仕至廉州太守，故称“王廉州”。王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。",[24,198,90,94,133,30,215,269,59,35,7,93,32,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f0d9e69ecf5b32522f0cc3f34bc390.jpg","纸本 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不失幽淡意趣。近渚林木清劲错落，屋舍隐于洲渚林泉，脱尽尘俗烟火气。\n设色浅淡温婉，赭石花青轻晕纸面，中和倪氏水墨冷寂，添几分温润柔和。师法云林萧疏意境，落笔却沉雄老辣，将南宗秀雅与北派苍厚相融。题诗与画境呼应，诗画合璧，师古不泥，尽显文人山水的雅逸风骨。",[23,154,24,198,28,30,133,94,170,215,269,199,7,270,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4338b8ae58b1ccd0bd17f1149f8ace0c.jpg",[],{"id":6103,"slug":6104,"title":30,"dynasty":129,"author":6105,"museum":829,"description":6106,"tags":6107,"thumbUrl":6108,"material":120,"size":120,"collection":120,"collections":6109,"showCount":5958,"zanCount":11,"manualWeight":11,"mainColor":104},223243,"shan-shui-hua-yan-223243","华嵒","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\n华岩一生贫困，金农在《画竹题记》提到：“汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 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厘米",[],{"id":6266,"slug":6267,"title":6268,"dynasty":129,"author":828,"museum":226,"description":6269,"tags":6270,"thumbUrl":6271,"material":370,"size":6272,"collection":120,"collections":6273,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":104},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,24,90,94,30,1272,35,93,229,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":6275,"slug":6276,"title":687,"dynasty":85,"author":6277,"museum":212,"description":6278,"tags":6279,"thumbUrl":6280,"material":120,"size":120,"collection":120,"collections":6281,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":48},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","盛茂烨","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[23,24,25,198,30,90,94,93,35,135,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":6283,"slug":6284,"title":6285,"dynasty":210,"author":6286,"museum":212,"description":6287,"tags":6288,"thumbUrl":6289,"material":120,"size":120,"collection":120,"collections":6290,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":104},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","程棨","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[23,154,24,25,26,133,28,29,96,1808,170,57,63,3946,3097,3100,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],{"id":6292,"slug":6293,"title":6294,"dynasty":668,"author":669,"museum":212,"description":670,"tags":6295,"thumbUrl":6296,"material":678,"size":679,"collection":680,"collections":6297,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":104},225831,"the-langlois-bridge-march-fan-gao-225831","The Langlois bridge (March - )",[154,672,28,59,60,91,72,1554,57,7,35,3303,673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd318fc35b367994358e3cf58d7e0426.jpg",[680],{"id":6299,"slug":6300,"title":6301,"dynasty":129,"author":1339,"museum":212,"description":6302,"tags":6303,"thumbUrl":6304,"material":120,"size":120,"collection":120,"collections":6305,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":104},224490,"xing-fu-an-gan-jiu-tu-juan-wu-li-224490","兴福庵感旧图卷","《吴历兴福庵感旧图卷》是清代吴历创作的一幅画。\n本幅自题：“吾友笔墨中，惟默公交最深。\n予常作客，不为话别，恐伤折柳。\n庚戌清和，游于燕蓟，往往南传方外书信，意甚殷殷。\n辛亥秋冬，将欲赋归，意谓同此岁寒冰雪，而未及渡淮，闻默公已挂履峰头，痛可言哉。\n自惭浪迹，有负同心，招魂作诔，未足抒写生平，形于绢素，訾笔陨涕而已。\n却到昙摩地，泪盈难解空。\n雪庭松影在，草诏墨痕融。\n几树春残碧，一灯门掩红。\n平生诗画癖，多被误吟风。\n鱼雁几曾隔，赋归迟悔深。\n自怜南北客，未尽死生心。\n痴蝶还疑梦，饥鸟独守林。\n云看无限意，何事即浮沉。\n甲寅年登高前二日雨霁并书。\n桃溪居士吴子历。\n”钤“吴历”印一方。\n卷尾有许之渐、纪萌、张景蔚三家题记。\n甲寅为清康熙十三年（1674年），吴历时年4岁。\n此图是作者为怀念故友默容而作，一段长题简述了二人的交往，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[23,24,25,26,28,30,96,170,35,7,60,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f571ff10a4082ce3d8b946f44feff0.jpg",[],{"id":6307,"slug":6308,"title":30,"dynasty":129,"author":6309,"museum":212,"description":6310,"tags":6311,"thumbUrl":6312,"material":120,"size":120,"collection":120,"collections":6313,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":104},224290,"shan-shui-fan-song-224290","范松","此作以全景铺展丘壑，层峦叠嶂间烟岚轻笼，将高远、平远之景相融。崖岫间红墙古寺半隐，晕染出点睛亮色，打破黛山翠林的沉静。\n\n林麓间村居错落，板桥跨溪通幽，浅滩漱石、流泉回环，把山居烟火与林泉野趣织为一体。笔墨苍秀老辣，以短皴写山石嶙峋肌理，林木枝桠攒簇尽显苍劲葱茏，淡赭轻敷衬出秋意清寂，整体气息静穆澹远，将文人心中栖隐林泉的意趣藏入层叠丘壑之中，观之如身临幽寂山境，揽尽林泉雅致。",[23,24,28,94,198,30,59,60,92,35,93,58,7,138,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c5de365c8e65858e3c9cf20b1c1d5.jpg",[],{"id":6315,"slug":6316,"title":3092,"dynasty":129,"author":4193,"museum":20,"description":6317,"tags":6318,"thumbUrl":6321,"material":120,"size":6322,"collection":120,"collections":6323,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":104},223221,"geng-zhi-tu-ce-jiao-bing-zhen-223221","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,25,29,28,57,63,6319,6320,35,7,3097,95],"耕地","水田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b54d2943eeabde80bb1bd85f146d6f1.jpg","34.7cm×27.7cm",[],{"id":6325,"slug":6326,"title":1102,"dynasty":129,"author":6327,"museum":212,"description":6328,"tags":6329,"thumbUrl":6330,"material":370,"size":6331,"collection":120,"collections":6332,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":104},223129,"shan-shui-zhou-qian-wei-qiao-223129","钱维乔","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。\n钱维乔早岁即工翰墨，得其兄钱维城之传，为兄代作，已咄咄逼真，而文秀之气过之。后笔尤苍厚，山水茂密不繁，峭秀不塞，作家士气兼备。晚岁笔墨尤精，随意所作，疏老苍浑。因作品风格酷似其兄，当时有“常州二钱”之誉。",[23,24,90,94,198,30,215,269,199,255,229,7,135,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5830d888db626572c39148425b0144.jpg","68x35",[],{"id":6334,"slug":6335,"title":6336,"dynasty":129,"author":252,"museum":446,"description":4526,"tags":6337,"thumbUrl":6338,"material":98,"size":4529,"collection":120,"collections":6339,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":104},214525,"yi-jin-ling-ce-9-shi-tao-214525","忆金陵册-9",[24,25,381,90,94,30,35,7,138,93,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d0768fdd95790b013468eae8620264.jpg",[],{"id":6341,"slug":6342,"title":3207,"dynasty":129,"author":6343,"museum":87,"description":6344,"tags":6345,"thumbUrl":6346,"material":120,"size":120,"collection":100,"collections":6347,"showCount":6142,"zanCount":11,"manualWeight":11,"mainColor":6348},202117,"xue-jing-shan-shui-zhou-qian-shu-202117","钱恕","画面铺展一派素净雪境，远山如银砌，淡墨晕染出雪的层叠厚重；近景枯树虬枝裹雪，山石以皴擦显肌理，屋舍隐于皑皑间，小桥横卧流水，水面泊着归舟，似有行人踏雪，静谧中藏着生活气息。水墨为底，皴染相济，留白与墨色相映成趣，线条简练却勾勒传神，将冬日清寒悠远的意境渲染得淋漓尽致，尽显传统山水的雅致韵味。",[24,90,30,94,59,60,113,7,346,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2555af5beb68adb6ad9849ab11e9590b.jpg",[100],"b49c81",{"id":6350,"slug":6351,"title":1102,"dynasty":85,"author":6352,"museum":212,"description":6353,"tags":6354,"thumbUrl":6356,"material":678,"size":679,"collection":120,"collections":6357,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。",[24,198,90,30,94,6355,93,60,7,37,170,1969],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c18bdacdfc802b4d0c4f82866a078d5.jpg",[],{"id":6359,"slug":6360,"title":6361,"dynasty":129,"author":1258,"museum":266,"description":4545,"tags":6362,"thumbUrl":6363,"material":98,"size":6364,"collection":120,"collections":6365,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},287447,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-wang-jian-287447","仿黄公望烟浮远岫图",[154,24,25,30,28,94,133,184,60,229,7,255,521,59,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bce4de3236da388c40dfce3e6cfb914.jpg","134.9x78.9",[],{"id":6367,"slug":6368,"title":6369,"dynasty":129,"author":3750,"museum":212,"description":6370,"tags":6371,"thumbUrl":6372,"material":120,"size":120,"collection":120,"collections":6373,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},239417,"feng-a-shan-fang-tu-zhou-qin-zu-yong-239417","凤阿山房图轴","此作用干笔淡墨铺陈丘壑，危崖巨嶂以皴擦点苔写就，苍莽厚重的山石占据画幅上半，尽显沉浑气象。山坳间林木错落，墨色浓淡层叠，掩映出三两村居草堂，堂内二人对坐晤谈，似在叙旧清谈，溪石隐于浅流，萦回环绕，衬出山居幽寂。\n画面上方题跋洋洋洒洒，诗书画融为一体，尽显文人雅致。画作以元人枯淡笔法写胸中丘壑，温婉秀雅，将江南山居的闲逸沉静诉诸笔端，淡墨轻岚间勾勒出世外林泉的栖居之境，尽显传统文人画的林下风流。",[24,25,198,90,94,30,93,35,7,60,255,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1474facd73ef704a532461aa1352ab92.jpg",[],{"id":6375,"slug":6376,"title":1037,"dynasty":129,"author":2597,"museum":212,"description":2598,"tags":6377,"thumbUrl":6378,"material":120,"size":120,"collection":120,"collections":6379,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},238146,"shan-shui-ce-yun-xi-238146",[24,28,94,381,90,30,91,60,59,93,35,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56aea8fd244e7dbad2bb6f33aeaf0fe.jpg",[],{"id":6381,"slug":6382,"title":6383,"dynasty":129,"author":3703,"museum":212,"description":6384,"tags":6385,"thumbUrl":6386,"material":120,"size":120,"collection":120,"collections":6387,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},237875,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237875","杨晋仿古山水册","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。",[24,90,30,381,133,94,215,269,229,35,7,91,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f490a647d47e37a3f9f7c1094094503.jpg",[],{"id":6389,"slug":6390,"title":6391,"dynasty":129,"author":6392,"museum":212,"description":6393,"tags":6394,"thumbUrl":6395,"material":120,"size":120,"collection":120,"collections":6396,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},235682,"fang-yuan-ren-xiao-jing-zhou-da-chong-guang-235682","仿元人小景轴","笪重光","此展品为清代的书画，描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n现收藏于 。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[24,25,198,90,96,170,30,199,59,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":6398,"slug":6399,"title":5316,"dynasty":129,"author":458,"museum":212,"description":2247,"tags":6400,"thumbUrl":6401,"material":678,"size":679,"collection":120,"collections":6402,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},235612,"hong-ren-shan-shui-ce-hong-ren-235612",[24,25,90,94,30,96,95,31,35,7,217,93,891],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],{"id":6404,"slug":6405,"title":1037,"dynasty":129,"author":378,"museum":212,"description":6406,"tags":6407,"thumbUrl":6408,"material":120,"size":120,"collection":120,"collections":6409,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},235167,"shan-shui-ce-zhu-da-235167","这幅画以大片留白铺就江天寥廓，将寒烟秋水的空茫意蕴藏于素纸之上。右侧淡墨勾勒丘坡枯木，笔意清瘦简逸，虬曲枯枝孤傲孑立，枯笔皴擦山石，不着浓墨晕染，尽显萧疏冷寂。\n\n空荡纸面恰如无人的寒江荒野，把天地荒寒的澹远之境铺陈开来。朱红钤印错落点缀，冷素笔墨与古雅印色相映，为清寂画面添了沉静厚重的余味。\n\n寥寥数笔便将幽独襟怀融于山水之间，极简意象里藏着沉郁孤高的心境，于空寂之中见深远意趣，淡远里尽显清冷孤绝的品格。",[24,90,381,30,35,7,93,116,94,1851,5773],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c165116dd7770d6cc8dde0fdfaf4df9.jpg",[],{"id":6411,"slug":6412,"title":6413,"dynasty":129,"author":773,"museum":20,"description":6414,"tags":6415,"thumbUrl":6416,"material":4206,"size":6417,"collection":120,"collections":6418,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965","物外田园图册","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。",[24,25,154,381,90,94,95,170,30,116,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg","纵21.5cm，横16.9cm",[],{"id":6420,"slug":6421,"title":4971,"dynasty":85,"author":390,"museum":212,"description":6422,"tags":6423,"thumbUrl":6424,"material":678,"size":679,"collection":120,"collections":6425,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},234927,"dong-qi-chang-shan-shui-ce-yi-ming-234927","此作用笔清润松灵，近景古木虬曲苍劲，枝桠舒展自带古拙意趣，坡岸留白晕开浅淡水汽，衬得林下村居愈发幽寂安闲。中远景山峦层叠，以淡墨轻勾慢皴，山石轮廓秀逸温润，将江南丘壑的清润质感藏于简淡笔墨之中。画面留白与钤印错落相映，晕开雅致沉静的书卷气，以尺幅之地铺陈出萧散淡远的林下闲居之境，尽显平淡天真的文人意趣，观之如临幽寂山林，静享山居清宁。",[154,24,25,381,90,94,30,215,199,7,93,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ff81a6d88494802fde213820a8874.jpg",[],{"id":6427,"slug":6428,"title":6429,"dynasty":85,"author":109,"museum":212,"description":6430,"tags":6431,"thumbUrl":6432,"material":678,"size":679,"collection":120,"collections":6433,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831","仿黄公望山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[24,25,1467,30,133,94,90,93,35,7,59,869,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":6435,"slug":6436,"title":6437,"dynasty":85,"author":6438,"museum":212,"description":6439,"tags":6440,"thumbUrl":6441,"material":120,"size":120,"collection":120,"collections":6442,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱毂","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[24,25,90,94,381,30,92,35,93,7,135,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":6444,"slug":6445,"title":6161,"dynasty":85,"author":5802,"museum":212,"description":6446,"tags":6447,"thumbUrl":6448,"material":120,"size":120,"collection":120,"collections":6449,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},234486,"shan-shui-shan-wei-zhi-huang-234486","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风格。亦擅花卉及佛像。",[1467,24,25,90,28,94,30,35,93,58,7,138,834,270,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689fbbc66d94f153ceabb94254d50706.jpg",[],{"id":6451,"slug":6452,"title":5357,"dynasty":129,"author":6453,"museum":212,"description":6454,"tags":6455,"thumbUrl":6456,"material":118,"size":120,"collection":120,"collections":6457,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},234256,"shan-shui-juan-li-shao-ji-234256","李绍箕","李绍箕（1550～1631后）明代画家、诗人。字懋承。华亭（今上海松江）人。其祖父李日章，官按察副使。绍箕少承家学，长于诗文，以太学生官南京鸿胪寺序班，后官江西都昌主簿。擅画山水，师岳父顾正谊，能师承其画风，并因任职南昌，多涉历山川胜景，画艺益进，晚年运笔苍劲，年八十有余尚挥洒不倦。",[23,24,25,26,90,94,95,96,30,184,35,255,7,2610,32,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1d2d7087f5607236ef25610e823c52.jpg",[],{"id":6459,"slug":6460,"title":6461,"dynasty":129,"author":1925,"museum":212,"description":6462,"tags":6463,"thumbUrl":6464,"material":120,"size":120,"collection":120,"collections":6465,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,24,26,90,30,94,215,269,92,199,7,91,270,3086,2610,137,521,136,331,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":6467,"slug":6468,"title":1924,"dynasty":129,"author":1925,"museum":20,"description":1926,"tags":6469,"thumbUrl":6472,"material":243,"size":1929,"collection":120,"collections":6473,"showCount":123,"zanCount":385,"manualWeight":11,"mainColor":104},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874",[24,90,595,305,1230,35,91,7,835,34,216,521,6470,6471],"水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg",[],{"id":6475,"slug":6476,"title":6477,"dynasty":210,"author":1216,"museum":212,"description":6478,"tags":6479,"thumbUrl":6480,"material":6481,"size":6482,"collection":120,"collections":6483,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":48},233700,"shan-ju-shuo-ting-tu-ye-tang-di-233700","山居说听图页","《山居说听图页》绘山水之景，远处山峦起伏，近处山石陡峭，树木苍翠；山脚下凉亭数间，亭内两人对坐饮茶，一童子执长扇一边伺侯；亭前溪水流淌，泛起层层水纹。唐棣（1296-1364年)，字子华，号遁斋,祖籍今浙江杭州，因先世在吴兴做官，迁徙今浙江湖州。唐棣父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年应诏在南京龙翔寺绘制画壁，至顺四年第二次北上大都，奉诏在宫廷作画。在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。",[24,25,1229,28,30,199,93,7,60,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967792a94d3373becb0b178e35ab2182.jpg","绢本淡设色","纵24厘米，横24.8厘米",[],{"id":6485,"slug":6486,"title":6487,"dynasty":129,"author":6488,"museum":20,"description":6489,"tags":6490,"thumbUrl":6491,"material":370,"size":6492,"collection":120,"collections":6493,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},231886,"zhong-qiu-hua-tu-yu-sheng-231886","种秋花图","余省","该画为全景式构图，表现课童种秋花的情景。画心上半部以远山和绿树表现出秋高气爽的时节，下半部重点突出了此画的主题——种秋花。庭院中，有的童子在房前空地处种植，有的给种好的秋卉培土、浇水。画中秋卉缤纷，蜂蝶两三萦绕篱径。整幅画面生动活泼，色彩妍丽，悦人眼目，表现出太平盛世人们安居乐业的惬意生活。",[23,24,28,29,57,35,1743,93,7,156,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdd685cefc1d1ead85b247370e33108.jpg","纵165.8厘米，横93.7厘米",[],{"id":6495,"slug":6496,"title":6497,"dynasty":85,"author":6498,"museum":212,"description":6499,"tags":6500,"thumbUrl":6501,"material":370,"size":6502,"collection":120,"collections":6503,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,24,25,26,90,305,94,170,95,96,30,116,35,113,7,34,134,270,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":6505,"slug":6506,"title":6507,"dynasty":668,"author":390,"museum":212,"description":6508,"tags":6509,"thumbUrl":6510,"material":678,"size":679,"collection":120,"collections":6511,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,25,26,28,29,56,57,58,62,30,35,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":6513,"slug":6514,"title":6515,"dynasty":129,"author":5680,"museum":212,"description":6516,"tags":6517,"thumbUrl":6518,"material":120,"size":120,"collection":120,"collections":6519,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,24,25,198,90,94,30,93,113,60,7,134,138,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":6521,"slug":6522,"title":6523,"dynasty":129,"author":6524,"museum":212,"description":6525,"tags":6526,"thumbUrl":6528,"material":120,"size":120,"collection":120,"collections":6529,"showCount":123,"zanCount":385,"manualWeight":11,"mainColor":48},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,25,198,90,28,29,94,30,6527,7,35,93,59,60,92],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":6531,"slug":6532,"title":6533,"dynasty":129,"author":1947,"museum":212,"description":6534,"tags":6535,"thumbUrl":6536,"material":120,"size":120,"collection":120,"collections":6537,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":48},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,25,381,90,94,30,35,59,7,37,93,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":6539,"slug":6540,"title":6541,"dynasty":210,"author":3427,"museum":212,"description":6542,"tags":6543,"thumbUrl":6544,"material":120,"size":120,"collection":120,"collections":6545,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","水村图卷","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,154,24,25,26,90,94,30,32,35,4598,7,59,134,1990,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":6547,"slug":6548,"title":6549,"dynasty":668,"author":390,"museum":212,"description":6550,"tags":6551,"thumbUrl":6552,"material":120,"size":120,"collection":120,"collections":6553,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[3474,28,30,91,34,35,93,332,1688,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":6555,"slug":6556,"title":6557,"dynasty":129,"author":688,"museum":212,"description":6558,"tags":6559,"thumbUrl":6561,"material":120,"size":120,"collection":120,"collections":6562,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":48},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[23,24,25,198,30,133,94,6560,35,60,7,215,59],"披麻皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":6564,"slug":6565,"title":6566,"dynasty":129,"author":688,"museum":212,"description":2502,"tags":6567,"thumbUrl":6568,"material":2505,"size":2506,"collection":120,"collections":6569,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":48},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8",[23,24,90,28,94,381,30,93,60,92,7,35,59,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg",[],{"id":6571,"slug":6572,"title":6573,"dynasty":129,"author":2274,"museum":212,"description":6574,"tags":6575,"thumbUrl":6576,"material":120,"size":120,"collection":120,"collections":6577,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":48},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,154,24,25,198,28,94,30,7,35,59,60,91,114,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":6579,"slug":6580,"title":1781,"dynasty":129,"author":2274,"museum":212,"description":6581,"tags":6582,"thumbUrl":6583,"material":678,"size":679,"collection":120,"collections":6584,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},224194,"shan-shui-tu-wu-hong-224194","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”。",[23,1467,24,90,94,30,114,93,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":6586,"slug":6587,"title":6588,"dynasty":129,"author":6105,"museum":212,"description":6589,"tags":6590,"thumbUrl":6591,"material":120,"size":120,"collection":120,"collections":6592,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,198,28,29,30,35,7,59,60,91,37,31,255,425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":6594,"slug":6595,"title":6596,"dynasty":129,"author":6105,"museum":212,"description":6597,"tags":6598,"thumbUrl":6599,"material":120,"size":120,"collection":120,"collections":6600,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":48},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,25,198,28,29,94,30,57,59,60,92,7,255,93,2610,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":6602,"slug":6603,"title":6604,"dynasty":129,"author":2425,"museum":422,"description":2426,"tags":6605,"thumbUrl":6608,"material":356,"size":2437,"collection":120,"collections":6609,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},222907,"hong-lou-meng-32-sun-wen-222907","红楼梦32",[23,24,25,29,28,56,57,58,156,200,199,93,2434,2429,7,6606,2433,6607],"花木","室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e9f1d82d6ef78a2bca3d92337f7fb.jpg",[],{"id":6611,"slug":6612,"title":6613,"dynasty":129,"author":1258,"museum":226,"description":5287,"tags":6614,"thumbUrl":6616,"material":98,"size":120,"collection":120,"collections":6617,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},215028,"fang-gu-shan-shui-ce-3-wang-jian-215028","仿古山水册-3",[24,25,891,832,94,1229,30,93,35,59,60,7,6615],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf51937c7fa8c49c5ec3f6019215bc8d.jpg",[],{"id":6619,"slug":6620,"title":6621,"dynasty":129,"author":3242,"museum":2163,"description":6622,"tags":6623,"thumbUrl":6624,"material":98,"size":120,"collection":120,"collections":6625,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":104},214819,"shan-shui-hua-hui-tu-ce-2-gao-feng-han-214819","山水花卉图册-2","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,25,381,90,28,30,59,675,35,7,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a60e84bf06c1ef5e8e26698a7abd53.jpg",[],{"id":6627,"slug":6628,"title":3126,"dynasty":85,"author":469,"museum":87,"description":6629,"tags":6630,"thumbUrl":6631,"material":120,"size":120,"collection":100,"collections":6632,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":6633},203456,"fang-gu-shan-shui-ce-dong-qi-chang-203456","这幅册页书画相映，笔墨间流淌着古雅清韵。山水构图简远空灵，山峦以淡墨皴擦出深浅层次，线条如书法般灵动婉转，树木疏朗有致，几间小屋隐于林麓水畔，似藏幽居之趣。墨色清润虚实相生，尽显“平淡天真”的文人意趣，师法宋元而自出机杼，于仿古中见个人笔意。左侧书法笔势流畅，与山水气韵相契，书画互衬更添雅致。整体画面疏秀旷远，仿佛可感林泉之静，尽得文人画逸致风骨。",[23,381,90,94,95,170,30,215,1040,199,7,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d5fb0f235db2ee56340f47f4db6f0.jpg",[100],"9e927d",{"id":6635,"slug":6636,"title":6637,"dynasty":85,"author":469,"museum":87,"description":6638,"tags":6639,"thumbUrl":6640,"material":120,"size":120,"collection":100,"collections":6641,"showCount":123,"zanCount":385,"manualWeight":11,"mainColor":6642},201412,"shan-cun-qing-ji-tu-zhou-dong-qi-chang-201412","山村清霁图轴","霁色初开的山村，岚气渐散。远山层叠，以披麻皴轻敷淡染，墨色空灵；近树虬劲，枝干如篆籀游走，尽显“以书入画”之韵。溪流潺潺穿林而过，屋舍隐于草木间，错落有致。画面布局疏密得宜，远近层次分明，笔墨疏淡却见苍劲，意境清远静谧，似藏悠然世外的田园诗意，引人沉醉于这文人画的逸趣与空灵之境。",[24,30,94,90,198,35,7,135,2155,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf451b18255921a261ff14211ab61fd.jpg",[100],"b6a98f",{"id":6644,"slug":6645,"title":1037,"dynasty":210,"author":3427,"museum":212,"description":6646,"tags":6647,"thumbUrl":6648,"material":678,"size":679,"collection":120,"collections":6649,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":48},290791,"shan-shui-ce-cao-zhi-bai-290791","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,154,25,381,90,94,30,184,92,7,37,95,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8d4db09053f098e95e9302d75be369.jpg",[],{"id":6651,"slug":6652,"title":6653,"dynasty":210,"author":6654,"museum":212,"description":6655,"tags":6656,"thumbUrl":6658,"material":678,"size":679,"collection":120,"collections":6659,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},290504,"xi-shan-xin-yu-zhou-ma-wan-290504","溪山新雨轴","马琬","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。秦淮（今江苏南京）人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[154,24,198,90,30,114,7,59,60,170,6657],"新雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e1577e996b2222b03dd3d6748e752ec.jpg",[],{"id":6661,"slug":6662,"title":6663,"dynasty":210,"author":720,"museum":212,"description":6664,"tags":6665,"thumbUrl":6666,"material":678,"size":679,"collection":120,"collections":6667,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},290155,"yan-ju-tu-ni-zan-290155","岩居图","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[154,24,25,198,90,30,200,113,7,59,60,170,95,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c1f4d3c7d03162b0c8ff0c8d1fbbe59.jpg",[],{"id":6669,"slug":6670,"title":6671,"dynasty":18,"author":390,"museum":212,"description":6672,"tags":6673,"thumbUrl":6675,"material":678,"size":679,"collection":120,"collections":6676,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":48},288279,"gui-qu-lai-ci-tu-yi-ming-288279","归去来辞图","此作以诗画合璧，铺陈出隐逸山居的悠然日常。青绿浅设色晕染出远山浅渚、松篁茅堂，笔墨古拙温婉，带着沉静的古雅气质。\n\n画卷分段演绎归乡、雅集诸般场景：或策蹇归来、稚子相迎，或草堂清谈、把盏言欢，仆役往来洒扫，士人凭栏观山，动静之间，尽是园田居的澹泊意趣。题跋与绘事相映，将归园田居的旷达心境，具象为林下幽居的烟火雅事，把隐逸理想揉进古雅山居图景里，悠然意态溢于绢素。",[23,154,24,26,28,57,30,58,35,348,156,95,96,5722,2115,155,7,6674],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c04b691699448370c5877a28ea83f.jpg",[],{"id":6678,"slug":6679,"title":6680,"dynasty":129,"author":167,"museum":212,"description":6681,"tags":6682,"thumbUrl":6683,"material":678,"size":679,"collection":120,"collections":6684,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},288134,"shan-cun-yu-jing-tu-wang-yuan-qi-288134","山村雨景图","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,25,198,90,30,94,2155,5710,59,60,184,35,7,544,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294c5e833fb6388c6d67ccaaee06df6d.jpg",[],{"id":6686,"slug":6687,"title":6688,"dynasty":85,"author":469,"museum":212,"description":3546,"tags":6689,"thumbUrl":6691,"material":678,"size":679,"collection":120,"collections":6692,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},283773,"shu-shu-yao-cen-tu-zhou-dong-qi-chang-283773","疏树遥岑图轴",[154,24,25,198,90,30,6690,134,7,59,94,170,95],"疏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc04ef9a52bc3588b9795eae91f67593.jpg",[],{"id":6694,"slug":6695,"title":6696,"dynasty":129,"author":390,"museum":212,"description":6697,"tags":6698,"thumbUrl":6703,"material":678,"size":679,"collection":120,"collections":6704,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":48},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。",[24,6699,6700,6701,30,58,59,60,217,35,7,6702],"挂屏","木质","泥金","农庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aa894d4acbe3f09ca44cf0d124c41c.jpg",[],{"id":6706,"slug":6707,"title":6708,"dynasty":129,"author":6709,"museum":212,"description":6710,"tags":6711,"thumbUrl":6712,"material":678,"size":679,"collection":120,"collections":6713,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},241455,"zhi-huang-yi-shu-zha-juan-weng-fang-gang-241455","致黄易书札卷","翁方纲","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[23,154,24,25,26,96,90,30,7,35,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2046f6985be116f7a0839c7580a05488.jpg",[],{"id":6715,"slug":6716,"title":6717,"dynasty":129,"author":6718,"museum":212,"description":6719,"tags":6720,"thumbUrl":6721,"material":678,"size":679,"collection":120,"coll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1880",[2125,672,1741,1626,521,1554,6865,7,835,1553],"野花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedb0a03d3fd84140051faf71cf682a5.jpg",[680],{"id":6869,"slug":6870,"title":6871,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":6872,"thumbUrl":6873,"material":678,"size":679,"collection":680,"collections":6874,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},225970,"lavacourt-under-snow-1879-mo-nai-225970","Lavacourt under Snow, 1879",[2125,672,1550,4383,556,7,113,32,34,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151957d2f99c73ba27a5386c24def036.jpg",[680],{"id":6876,"slug":6877,"title":6878,"dynasty":668,"author":669,"museum":212,"description":670,"tags":6879,"thumbUrl":6881,"material":678,"size":679,"collection":680,"collections":6882,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":48},225838,"the-sower-fan-gao-225838","The Sower",[672,1713,4589,648,57,675,7,2331,72,3303,6880],"色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d66a86c8a21a8eb5849c25e6ff1665.jpg",[680],{"id":6884,"slug":6885,"title":6886,"dynasty":129,"author":688,"museum":212,"description":6887,"tags":6888,"thumbUrl":6889,"material":120,"size":120,"collection":120,"collections":6890,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":48},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[23,24,25,381,27,28,94,30,35,4598,93,37,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":6892,"slug":6893,"title":3092,"dynasty":129,"author":4193,"museum":20,"description":6317,"tags":6894,"thumbUrl":6896,"material":120,"size":6322,"collection":120,"collections":6897,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},223216,"geng-zhi-tu-ce-jiao-bing-zhen-223216",[24,25,1229,29,28,56,57,1502,7,723,6895,1504],"纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bac5db85afd5f566ac05862b663b2ad.jpg",[],{"id":6899,"slug":6900,"title":6901,"dynasty":18,"author":6902,"museum":266,"description":6903,"tags":6904,"thumbUrl":6906,"material":231,"size":6907,"collection":100,"collections":6908,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[23,24,90,28,1467,30,217,35,7,134,332,6905,94],"夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2a199f17dc4e03d73f2a0ef2d0a8c1.jpg","24.5x26.2",[100],{"id":6910,"slug":6911,"title":3008,"dynasty":18,"author":390,"museum":266,"description":6912,"tags":6913,"thumbUrl":6915,"material":231,"size":6916,"collection":100,"collections":6917,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},218721,"xue-shan-xing-lv-tu-yi-ming-218721","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[23,24,25,1467,30,57,1063,1125,93,869,35,7,90,94,6914],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[100],{"id":6919,"slug":6920,"title":6921,"dynasty":129,"author":1258,"museum":226,"description":5287,"tags":6922,"thumbUrl":6923,"material":98,"size":120,"collection":120,"collections":6924,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":104},215022,"fang-gu-shan-shui-ce-8-wang-jian-215022","仿古山水册-8",[24,90,381,832,94,30,35,93,7,32,255,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3e87a735bf5fbbc93441ab92abd2c3.jpg",[],{"id":6926,"slug":6927,"title":6928,"dynasty":129,"author":4170,"museum":212,"description":4171,"tags":6929,"thumbUrl":6930,"material":678,"size":679,"collection":120,"collections":6931,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},288338,"cheng-bo-yue-fan-tu-wang-bing-288338","澄波月泛图",[24,154,25,198,30,90,28,60,7,35,93,91,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f7fb923b860824a47d9607f66eb8af.jpg",[],11,{"id":6934,"slug":6935,"title":6936,"dynasty":85,"author":5358,"museum":212,"description":6937,"tags":6938,"thumbUrl":6939,"material":678,"size":679,"collection":120,"collections":6940,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":48},288051,"xi-qiao-lin-wu-tu-shan-mian-sun-zhi-288051","溪桥林屋图扇面","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。",[154,24,25,1467,90,30,59,60,7,35,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db017cd0df8cb7f7d323beb4d55c81a.jpg",[],{"id":6942,"slug":6943,"title":1037,"dynasty":129,"author":6944,"museum":212,"description":6945,"tags":6946,"thumbUrl":6947,"material":120,"size":120,"collection":100,"collections":6948,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},239040,"shan-shui-ce-wu-lin-239040","吴麐","此作用笔松灵秀润，以浅绛之法铺陈丘壑。远景主峰以淡墨晕出山形，氤氲起朦胧岚气，山顶浓墨点苔缀林，虚实相生间尽显山之厚重幽邃。近岸巉岩错落，古松虬枝蟠曲，杂木丛生，枝叶或点或染，尽显苍劲生机。右侧村居隐于林麓，寥寥数笔便勾勒出幽居野逸之态。全画干湿互济，皴擦简淡却见层次，设色清和淡雅，将江南山水的沉静灵秀尽数铺展，漫溢着萧散悠然的林下逸趣，尽显文人山水画的雅致意韵。",[24,90,28,94,381,30,93,35,7,675,134,2093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e13ea05de5b02d4d87718aed3bf70e5.jpg",[100,45],{"id":6950,"slug":6951,"title":6952,"dynasty":129,"author":6953,"museum":20,"description":6954,"tags":6955,"thumbUrl":6957,"material":370,"size":6958,"collection":100,"collections":6959,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},238982,"shan-shui-ce-huang-ye-shu-lin-wang-chen-238982","山水册－黄叶疏林","王宸","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[24,25,381,90,94,30,35,7,93,6956,1852],"黄叶","https:\u002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横四二·三厘米",[],{"id":7009,"slug":7010,"title":1037,"dynasty":129,"author":378,"museum":212,"description":7011,"tags":7012,"thumbUrl":7013,"material":120,"size":120,"collection":120,"collections":7014,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},235169,"shan-shui-ce-zhu-da-235169","此作用笔枯淡极简，以寥寥勾勒写尽荒江之景。虬曲老树疏立崖头，枝桠奇崛如铁，不见繁叶，只剩萧索寒意。水岸坡陀以淡墨轻扫，虚实相生，将江天寥廓尽数铺展。屋舍低伏于洲渚，隐于林木之间，不见人烟，愈衬出天地空寂。\n\n全画以留白代水色，淡墨晕染出烟雨空濛，笔意简净而韵致悠长。清冷孤高的画面里，尽是疏离淡远的况味，沉郁心绪藏在淡墨山水之中，于简淡里见苍茫，枯寂中藏深情，尽显空灵冷逸的禅意。",[24,25,381,90,30,35,7,170,94,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0db70a569f8b7b2ce062c1b51db4390.jpg",[],{"id":7016,"slug":7017,"title":7018,"dynasty":129,"author":7019,"museum":212,"description":7020,"tags":7021,"thumbUrl":7022,"material":120,"size":120,"collection":120,"collections":7023,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},234607,"shan-shui-wan-shan-zhang-zhi-wan-234607","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[24,25,1467,90,94,30,93,35,7,184,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5a3cdcc988cabf533cc71a232dc36d.jpg",[],{"id":7025,"slug":7026,"title":7027,"dynasty":129,"author":3846,"museum":20,"description":7028,"tags":7029,"thumbUrl":7030,"material":120,"size":120,"collection":120,"collections":7031,"showCount":6932,"zanCount":385,"manualWeight":11,"mainColor":104},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[154,24,25,1467,90,28,30,93,35,7,134,133,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":7033,"slug":7034,"title":7018,"dynasty":129,"author":7035,"museum":7036,"description":7037,"tags":7038,"thumbUrl":7039,"material":120,"size":7040,"collection":120,"collections":7041,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},234519,"shan-shui-wan-shan-dai-yi-heng-234519","戴以恒","萧山博物馆","戴以恒(1826～1891)，字用伯，钱塘(今杭州)人，戴熙次子，承家传，擅山水，工刻印，有《醉苏斋书诀》。",[24,1467,90,94,30,199,7,93,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01f32cc520c460a18e50766dccc11c2.jpg","纵17.2厘米，横49.5厘米",[],{"id":7043,"slug":7044,"title":7045,"dynasty":85,"author":4800,"museum":20,"description":7046,"tags":7047,"thumbUrl":7049,"material":370,"size":7050,"collection":120,"collections":7051,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},234155,"yun-shan-tu-juan-wen-jia-234155","云山图卷","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,26,90,94,96,95,30,7048,37,184,35,754,7,59,60,91,92],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":7053,"slug":7054,"title":7055,"dynasty":85,"author":7056,"museum":20,"description":7057,"tags":7058,"thumbUrl":7060,"material":777,"size":7061,"collection":120,"collections":7062,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},233843,"bi-hu-zhu-shu-tu-zhou-shen-hao-233843","闭户著书图轴","沈颢","画面苍松下篱门紧闭。窠石小溪，书屋内一人凭几挥笔著书。用笔工细严谨。自识“闭户著书多岁月，种松皆作老龙麟。安素先生，抱道高棲，日著书万言。穆如之风，真追支、许。其次公原定，逸才清骨，与予有缟紵之谊。近闻遷乔，写此代贺。癸酉中秋，朗道人颢”。钤“朗倩”白文方印等。另钤“乾隆御览之宝”等鉴藏印多方。按癸酉为崇祯六年，公元一六三三年，作者时年四十八岁。此图曾经清内府收藏。《石渠宝笈》著录。",[24,25,198,90,28,94,96,95,170,114,255,7,57,116,7059],"室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f512c1583ae2897dc676a32f26a2c32.jpg","纵96.2厘米，横40.7厘米",[],{"id":7064,"slug":7065,"title":1226,"dynasty":129,"author":252,"museum":20,"description":1227,"tags":7066,"thumbUrl":7067,"material":118,"size":1233,"collection":120,"collections":7068,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},233776,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233776",[24,25,381,28,30,57,7,35,93,1041,95,96,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4915b7fd405c9234966f025821e03ed9.jpg",[],{"id":7070,"slug":7071,"title":7072,"dynasty":129,"author":1947,"museum":20,"description":7073,"tags":7074,"thumbUrl":7075,"material":120,"size":120,"collection":120,"collections":7076,"showCount":6932,"zanCount":385,"manualWeight":11,"mainColor":104},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,90,94,381,30,93,35,255,229,7,33,134,113,59,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":7078,"slug":7079,"title":1037,"dynasty":210,"author":3427,"museum":20,"description":6829,"tags":7080,"thumbUrl":7081,"material":118,"size":6832,"collection":120,"collections":7082,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":48},233174,"shan-shui-ce-cao-zhi-bai-233174",[24,90,94,381,95,96,30,215,269,35,59,7,270,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36164595fe8368b20261ba6fa14b9e1.jpg",[],{"id":7084,"slug":7085,"title":7086,"dynasty":129,"author":7087,"museum":422,"description":7088,"tags":7089,"thumbUrl":7090,"material":6030,"size":7091,"collection":120,"collections":7092,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":48},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","沈宗骞","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,24,25,26,90,94,30,35,93,32,37,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":7094,"slug":7095,"title":7096,"dynasty":129,"author":7097,"museum":212,"description":7098,"tags":7099,"thumbUrl":7102,"material":120,"size":120,"collection":120,"collections":7103,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":48},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","陆远","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[23,24,25,7100,7101,30,28,94,93,35,7,60],"金笺","四屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":7105,"slug":7106,"title":7107,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":7108,"thumbUrl":7112,"material":678,"size":679,"collection":680,"collections":7113,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":104},226085,"the-old-rue-de-la-chaussee-argenteuil-1872-mo-nai-226085","The Old Rue de la Chaussee, Argenteuil, 1872",[672,2125,7109,1629,350,7,57,1553,7110,1041,7111],"外光","土路","日光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9720b916f795a04f7872360a160d7a.jpg",[680],{"id":7115,"slug":7116,"title":7117,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":7118,"thumbUrl":7122,"material":678,"size":679,"collection":680,"collections":7123,"showCount":6932,"zanCount":11,"manualWeight":11,"mainColor":48},225926,"fields-of-tulip-with-the-rijnsburg-windmill-1886-mo-nai-225926","Fields of Tulip With The Rijnsburg Windmill, 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[2]\n他是明末清初著名诗人，与钱谦益、龚鼎孳并称“江左三大家”，又为娄东诗派开创者。长于七言歌行，初学“长庆体”，后自成新吟，后人称之为“梅村体”。",[24,1467,30,94,90,215,199,7,60,2610,7323],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],{"id":7327,"slug":7328,"title":7329,"dynasty":129,"author":342,"museum":20,"description":7330,"tags":7331,"thumbUrl":7332,"material":6850,"size":7333,"collection":120,"collections":7334,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":104},234921,"xue-jing-gu-shi-ce-sun-hu-234921","雪景故事册","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。",[24,25,381,28,29,556,30,58,7,93,35,96,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2ba6b5b5d446cd11a4073a42a45b840.jpg","纵31．5厘米 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，与文征明、沈周并重。",[24,25,1467,30,90,94,133,215,199,7,134,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581d8b3fe9cac690ab9750926dfbb899.jpg",[],{"id":7350,"slug":7351,"title":2442,"dynasty":129,"author":7352,"museum":212,"description":7353,"tags":7354,"thumbUrl":7355,"material":120,"size":120,"collection":120,"collections":7356,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":104},234483,"shan-shui-ce-ye-wu-ji-shan-234483","吴继善","吴继善，字志衍,明朝官员。南直隶太仓人，中崇祯十年（1637年）进士，崇祯十六年（1643年）任成都知县。",[24,25,381,90,94,30,199,7,134,500,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1a40848c5916e5cd036669177fab251.jpg",[],{"id":7358,"slug":7359,"title":7360,"dynasty":85,"author":4800,"museum":212,"description":4801,"tags":7361,"thumbUrl":7362,"material":118,"size":120,"collection":120,"collections":7363,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":104},234259,"xuan-cheng-song-bie-juan-wen-jia-234259","宣城送别卷",[23,24,25,26,96,170,28,90,30,35,200,7,59,60,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3da9f12e4c80cb38116a7672a637566.jpg",[],{"id":7365,"slug":7366,"title":1226,"dynasty":129,"author":252,"museum":20,"description":1227,"tags":7367,"thumbUrl":7368,"material":118,"size":1233,"collection":120,"collections":7369,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":104},233778,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233778",[154,24,25,381,90,28,30,57,59,60,35,93,37,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c18c2805cdb7dbe845a2784a765741.jpg",[],{"id":7371,"slug":7372,"title":7373,"dynasty":129,"author":3954,"museum":212,"description":7374,"tags":7375,"thumbUrl":7376,"material":120,"size":120,"collection":120,"collections":7377,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":104},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[23,24,25,154,1229,28,94,170,30,59,60,35,7,93,134,135,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":7379,"slug":7380,"title":7381,"dynasty":668,"author":7382,"museum":212,"description":7383,"tags":7384,"thumbUrl":7385,"material":678,"size":679,"collection":120,"collections":7386,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[23,154,3474,26,28,595,30,255,7,217,332,134,1283,35,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":7388,"slug":7389,"title":5184,"dynasty":129,"author":4535,"museum":212,"description":7390,"tags":7391,"thumbUrl":7392,"material":120,"size":120,"collection":120,"collections":7393,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":48},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,24,25,154,198,90,94,133,30,255,93,7,35,57,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":7395,"slug":7396,"title":7397,"dynasty":129,"author":3954,"museum":212,"description":7398,"tags":7399,"thumbUrl":7400,"material":120,"size":120,"collection":120,"collections":7401,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":104},230266,"shan-shui-shi-kai-fang-cong-230266","山水十开","此作用笔苍秀浑朴，以平远章法铺展春日村居意趣。板桥驮着晚归牧歌，柳丝轻笼烟岚，粉桃点破溪山春色，村庐隐在林麓间，尽得幽闲野致。平湖如镜，映出两岸茂林远岫，峰峦以干笔皴擦、墨色晕染出苍润质感，氤氲空濛春气。题诗衬合画中逸趣，将田家闲乐融在烟峦水木间，既有元人山水的萧散简远，又不失院体画的精整秀雅，笔底尽是静穆安闲的山居诗意。",[23,24,25,381,90,28,30,59,60,35,7,93,94,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6404cfc1abce5ce15f489d74346d7ea2.jpg",[],{"id":7403,"slug":7404,"title":7405,"dynasty":129,"author":167,"museum":212,"description":7406,"tags":7407,"thumbUrl":7408,"material":120,"size":120,"collection":120,"collections":7409,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":104},229027,"fang-yun-lin-she-se-shan-shui-tu-wang-yuan-qi-229027","仿云林设色山水图","此作用两段平远取景，铺陈出清寂萧疏的幽淡之境。近岸枯木清劲错落，疏朗有致，茅庐隐于林麓之间，野意悠然。远山以干笔淡墨反复皴擦，将倪云林的冷逸淡远，糅合进苍厚绵密的自家笔意，浅赭轻敷，晕染出古雅柔和的色调。画面留白开阔，引观者目光悠然游弋，尽显空寂淡远的文人意趣。题跋与画面相得益彰，文气雅致，师法元人又自出机杼，是兼具摹古与新意的山水佳构。",[23,154,24,25,198,28,94,30,35,93,7,332,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb43d7ec43e94f35dfae7914f109d2a6.jpg",[],{"id":7411,"slug":7412,"title":7413,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":7414,"thumbUrl":7416,"material":678,"size":679,"collection":680,"collections":7417,"showCount":7205,"zanCount":11,"manualWeight":11,"mainColor":48},225955,"inondation-de-la-seine-a-vetheuil-1881-mo-nai-225955","Inondation de la Seine à Vetheuil, 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t":162,"zanCount":11,"manualWeight":11,"mainColor":48},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24,25,198,28,30,556,215,269,255,521,7,57,32,970,113,270,7552,94],"冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc86f7786a0e780b5ff66b2cd24fe16.jpg",[],{"id":7556,"slug":7557,"title":377,"dynasty":129,"author":6105,"museum":212,"description":7558,"tags":7559,"thumbUrl":7560,"material":120,"size":120,"collection":120,"collections":7561,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},235071,"shan-shui-tu-ce-hua-yan-235071","此作用淡墨晕染出江南水乡之景，近岸芦苇轻曳，矮树傍临村居屋舍，江波留白隐现水色空濛，远山层叠以淡墨晕开，氤氲间尽显清寂淡逸。画作线条秀雅灵动，摒弃繁复皴擦，以简淡笔墨勾勒出幽远澹泊的林下栖居之境，将山水野居相融，寄寓林泉高致。左侧题诗与画面相生相合，诗境衬映画中澹然意趣，诗画合璧尽显文人雅致审美，整体意境清和疏旷，尽显传统文人山水画的悠然意韵。",[24,25,381,90,94,30,199,200,7,134,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c2278aaa9259d175772ba1ab608e8c.jpg",[],{"id":7563,"slug":7564,"title":1411,"dynasty":129,"author":828,"museum":212,"description":7565,"tags":7566,"thumbUrl":7567,"material":678,"size":679,"collection":120,"collections":7568,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,381,90,94,133,30,199,59,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":7570,"slug":7571,"title":7572,"dynasty":85,"author":86,"museum":20,"description":6250,"tags":7573,"thumbUrl":7574,"material":3572,"size":6253,"collection":120,"collections":7575,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},233137,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xin-guo-tu-ye-shen-zhou-233137","明人西山胜景合壁册-新郭图页",[24,25,381,90,30,59,60,7,35,96,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f3bdabed4bfe76d9c471868a7a47b2.jpg",[],{"id":7577,"slug":7578,"title":7579,"dynasty":668,"author":390,"museum":212,"description":7580,"tags":7581,"thumbUrl":7583,"material":678,"size":679,"collection":120,"collections":7584,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},231771,"wang-gu-feng-su-hua-hui-juan-er-yi-ming-231771","往古风俗画绘卷二","这幅界画工致清雅，以全景铺陈开古旧坊巷。屋舍排布错落严整，飞甍黛瓦、朱栏庭阶皆勾勒细致，尽显传统营造之美。街巷间人物往来熙攘，或市井贸迁，或闲庭信步，百态日常跃然绢素，将往昔烟火气揉进细腻笔触中。\n\n庭园里点缀枯荣花木，四时意趣藏于巷陌深处，设色柔淡雅致，晕开平和温润的古意，引观者踏入旧时光景，触摸千年前鲜活的人间烟火，静赏古早世风的悠然质感。",[23,24,26,28,29,56,7582,57,58,156,7,35,1743],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1967de1077b0f92bda1d523e3423430.jpg",[],{"id":7586,"slug":7587,"title":4498,"dynasty":129,"author":4447,"museum":212,"description":7588,"tags":7589,"thumbUrl":7591,"material":120,"size":120,"collection":120,"collections":7592,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":48},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,24,90,94,198,30,425,7,59,60,91,93,35,138,7590],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":7594,"slug":7595,"title":7596,"dynasty":129,"author":7597,"museum":212,"description":7598,"tags":7599,"thumbUrl":7600,"material":120,"size":120,"collection":120,"collections":7601,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,25,198,90,94,30,754,59,60,35,93,7,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":7603,"slug":7604,"title":7605,"dynasty":85,"author":7606,"museum":212,"description":7607,"tags":7608,"thumbUrl":7610,"material":120,"size":120,"collection":120,"collections":7611,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,24,25,1229,28,90,96,170,95,30,215,543,199,7,7609,94,835],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":7613,"slug":7614,"title":7615,"dynasty":85,"author":7616,"museum":212,"description":7617,"tags":7618,"thumbUrl":7620,"material":120,"size":120,"collection":120,"collections":7621,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","陈焕","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,25,381,28,90,96,30,521,59,60,57,7,35,3624,7619],"渔村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":7623,"slug":7624,"title":7625,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":7626,"thumbUrl":7628,"material":678,"size":679,"collection":680,"collections":7629,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":48},226067,"the-customs-house-1882-2-mo-nai-226067","The Customs House, 1882-2",[672,2125,1550,4383,3325,7,4386,1554,2478,352,1753,3302,7627],"笔触灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddb366bf2b570f259a9218d6b7fbdd5.jpg",[680],{"id":7631,"slug":7632,"title":7633,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":7634,"thumbUrl":7635,"material":678,"size":679,"collection":680,"collections":7636,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},226032,"snow-scene-at-argenteuil-mo-nai-226032","Snow Scene at Argenteuil",[672,2125,556,2341,70,35,2114,72,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c34060bfbba2b69e37d17e6d51e9ab.jpg",[680],{"id":7638,"slug":7639,"title":7640,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":7641,"thumbUrl":7642,"material":678,"size":679,"collection":680,"collections":7643,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":48},225971,"le-jardin-de-ve-theuil-1881-mo-nai-225971","Le Jardin de Vétheuil, 1881",[154,672,2125,1742,35,1939,7,156,1626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eecd71c3896a7e6223fba68266c25d.jpg",[680],{"id":7645,"slug":7646,"title":7647,"dynasty":668,"author":669,"museum":212,"description":670,"tags":7648,"thumbUrl":7649,"material":678,"size":679,"collection":680,"collections":7650,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":48},225867,"view-of-auvers-may-june-fan-gao-225867","View of Auvers (May - June )",[672,673,1713,5385,754,7,648,5062,35,1553,5387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b2bce3a45c0617b70c9144ffb0b7d17.jpg",[680],{"id":7652,"slug":7653,"title":3126,"dynasty":129,"author":1339,"museum":212,"description":7654,"tags":7655,"thumbUrl":7656,"material":120,"size":120,"collection":120,"collections":7657,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":48},224489,"fang-gu-shan-shui-ce-wu-li-224489","此作用墨苍润清逸，远景山峦以浓淡墨色层叠晕染，峰岫间留白作云气，晕出山影空濛悠远的层次感。近渚汀岸以干笔淡墨勾勒，间以浓墨点苔写林木，简笔轻描村居茅舍，错落隐于烟树之间。\n\n整幅构图疏密相宜，以留白衬出水乡的空阔静穆，干湿互用的笔墨带着松秀苍劲的质感，将江南水畔林泉栖居的闲淡意趣铺展开来，萧散静谧的古韵漫溢其间，仿若引人身临这山水幽居，共赴隐逸悠然的林下之境。",[154,24,25,381,90,94,30,59,60,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753cd9e04c73c33b73d3d06de173f862.jpg",[],{"id":7659,"slug":7660,"title":7661,"dynasty":129,"author":828,"museum":212,"description":7662,"tags":7663,"thumbUrl":7664,"material":120,"size":120,"collection":120,"collections":7665,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":48},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[23,24,90,30,94,198,1125,270,113,7,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":7667,"slug":7668,"title":30,"dynasty":129,"author":7669,"museum":212,"description":7670,"tags":7671,"thumbUrl":7672,"material":120,"size":120,"collection":120,"collections":7673,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[23,24,25,30,198,28,90,94,93,35,7,134,892,255,217,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":7675,"slug":7676,"title":5634,"dynasty":129,"author":167,"museum":212,"description":7677,"tags":7678,"thumbUrl":7679,"material":120,"size":120,"collection":120,"collections":7680,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,25,26,90,94,30,184,35,7,92,135,59,270,38,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":7682,"slug":7683,"title":7684,"dynasty":129,"author":2597,"museum":212,"description":7685,"tags":7686,"thumbUrl":7687,"material":678,"size":679,"collection":120,"collections":7688,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青","爱新觉罗·胤禧（1711年2月27日—1758年6月26日），避雍正帝讳改名为允禧，字谦斋，号紫噊，别号紫琼崖道人、春浮居士。清朝宗室大臣，康熙帝第二十一子，书画家、诗人，母为熙嫔陈氏。\n九岁从幸塞外，雍正八年（1730年）二月，封固山贝子，晋封贝勒。雍正十一年（1733年），授镶黄旗满洲都统。雍正十三年（1735年），授宗人府左宗正、正黄旗汉军都统。乾隆帝即位后，封慎郡王。乾隆三年（1738年），擢为议政大臣。乾隆五年（1740年），授正白旗满洲都统。乾隆七年（1742年），充玉牒馆总裁。乾隆二十三年（1758年）五月，去世，享年四十八岁，谥号为靖。\n能诗善赋，书画兼长，著有《花间堂诗抄》8卷、《紫琼岩诗抄》3卷，诗词气韵高古，王室罕可匹俦。恭亲王府“天香庭院”匾额，为其手笔。",[23,24,25,28,30,5463,7,59,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e304ac9be4b8cdba4fd199f703a2578.jpg",[],{"id":7690,"slug":7691,"title":1781,"dynasty":85,"author":7692,"museum":20,"description":7693,"tags":7694,"thumbUrl":7695,"material":370,"size":7696,"collection":120,"collections":7697,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},222573,"shan-shui-tu-wu-chang-222573","吴昌","明（无声诗史作昌之，图绘宝鉴续纂作字振之，误）。振子。善山水，能世父业。康熙十六年（一六七七）尝作山水扇，见故宫周刊。传世作品有崇祯十四年（1641）作《山水图》扇页，著录于《中国书画家印鉴款识》；康熙十六年（1677）作《山水图》扇页，款署：“丁巳秋仲写，吴昌。”现藏故宫博物院。生平事迹未见详细记载，《无声诗史》《明画录》《图绘宝鉴续篡》等均将其名附于吴振后云：“子昌，字昌伯，能世其业。”从艺活动约于明崇祯至清康熙年间。",[23,24,25,154,1467,28,94,30,93,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d6a79dc397d65dfbd2e7d49cf122b2.jpg","35x65",[],{"id":7699,"slug":7700,"title":7701,"dynasty":129,"author":7702,"museum":529,"description":7703,"tags":7704,"thumbUrl":7705,"material":7706,"size":7707,"collection":120,"collections":7708,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":120},220703,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220703","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 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书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,154,30,90,28,381,35,93,7,37,94,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5814fa3e46d38ecce71bf3ffe0d290d3.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":7710,"slug":7711,"title":7712,"dynasty":18,"author":6902,"museum":226,"description":7713,"tags":7714,"thumbUrl":7716,"material":231,"size":7717,"collection":100,"collections":7718,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,154,24,25,26,28,29,57,63,62,5983,35,648,60,675,7,7715,3100],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","24×160",[100],{"id":7720,"slug":7721,"title":7722,"dynasty":129,"author":732,"museum":87,"description":1686,"tags":7723,"thumbUrl":7724,"material":231,"size":1690,"collection":120,"collections":7725,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},219839,"shan-shui-tu-ce-8-xie-sun-219839","山水图册-8",[154,24,25,381,28,90,30,114,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8e5adeb26c6d2ff1eaa3be50f1696.jpg",[],{"id":7727,"slug":7728,"title":7729,"dynasty":85,"author":7730,"museum":110,"description":7731,"tags":7732,"thumbUrl":7733,"material":98,"size":120,"collection":120,"collections":7734,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},219071,"xiao-xiang-ba-jing-ce-2-zhang-fu-219071","潇湘八景册-2","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,90,28,381,94,30,91,35,7,4141,835,1448,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac73debdcee6c35a13a33c73a553724.jpg",[],{"id":7736,"slug":7737,"title":7738,"dynasty":85,"author":7730,"museum":110,"description":7731,"tags":7739,"thumbUrl":7740,"material":98,"size":7741,"collection":120,"collections":7742,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":48},219069,"xiao-xiang-ba-jing-ce-3-zhang-fu-219069","潇湘八景册-3",[23,24,90,30,381,94,59,93,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdaa71b6ce03f0a8330115aac19429b.jpg","30x33厘米",[],{"id":7744,"slug":7745,"title":4310,"dynasty":129,"author":1258,"museum":226,"description":5287,"tags":7746,"thumbUrl":7747,"material":98,"size":120,"collection":120,"collections":7748,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},215023,"fang-gu-shan-shui-ce-7-wang-jian-215023",[24,90,94,381,133,30,255,92,60,93,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb65c5f001cf69f851fc2a2bceec7948c.jpg",[],{"id":7750,"slug":7751,"title":7752,"dynasty":129,"author":1258,"museum":226,"description":5287,"tags":7753,"thumbUrl":7754,"material":98,"size":120,"collection":120,"collections":7755,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":104},215021,"fang-gu-shan-shui-ce-9-wang-jian-215021","仿古山水册-9",[24,25,381,28,30,94,60,91,35,7,59,216,723,3086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a24b1956f09fca82af136b3260eb23.jpg",[],{"id":7757,"slug":7758,"title":7759,"dynasty":129,"author":378,"museum":226,"description":2145,"tags":7760,"thumbUrl":7761,"material":98,"size":120,"collection":120,"collections":7762,"showCount":162,"zanCount":385,"manualWeight":11,"mainColor":104},214375,"tian-guang-yun-jing-tu-ce-3-zhu-da-214375","天光云景图册-3",[23,24,90,94,381,170,30,215,199,7,92,1041,1040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705bd5dffcc371cdd75a36c158966065.jpg",[],{"id":7764,"slug":7765,"title":1338,"dynasty":129,"author":7766,"museum":87,"description":7767,"tags":7768,"thumbUrl":7769,"material":120,"size":120,"collection":100,"collections":7770,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":7771},201954,"shan-shui-tu-zhou-xiang-kui-201954","项奎","画面层峦叠嶂，近景古木虬枝，枝叶繁茂，树根盘结于岩石间；中景屋舍隐于林木，小桥横跨溪涧，意境清幽；远景山峦起伏，皴笔勾勒山石肌理，墨色浓淡相宜。整幅画作笔墨细腻，设色淡雅，将山水之秀与居停之静融为一体，尽显文人画的闲适意趣。",[30,28,94,35,7,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4077e5ed57f35875df36dc1f826c05.jpg",[100],"8f7048",{"id":7773,"slug":7774,"title":7775,"dynasty":85,"author":7776,"museum":212,"description":7777,"tags":7778,"thumbUrl":7779,"material":678,"size":679,"collection":120,"collections":7780,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},290968,"qian-yan-wan-he-tu-zhou-qin-yi-290968","千岩万壑图轴","钦揖","钦揖，清江苏吴县人，字远猷。善画山水，书法褚遂良、欧阳询。寄寓僧寺，终身不娶。",[154,24,198,30,90,35,7,229,93,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d30cb9e82bbf6f05c74144ce2071a3.jpg",[],{"id":7782,"slug":7783,"title":7784,"dynasty":129,"author":2135,"museum":212,"description":5309,"tags":7785,"thumbUrl":7786,"material":678,"size":679,"collection":120,"collections":7787,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},290391,"mo-fan-hua-yuan-bi-yi-tu-li-zhou-dong-bang-da-290391","摹范华原笔意图立轴",[23,24,154,1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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,24,595,28,94,30,91,675,114,59,7,32,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379069d1ed23b59d2210624377be955a.jpg",[],{"id":7797,"slug":7798,"title":7799,"dynasty":668,"author":7800,"museum":212,"description":7801,"tags":7802,"thumbUrl":7804,"material":678,"size":679,"collection":120,"collections":7805,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},287659,"shan-shui-tu-ping-feng-er-zhou-wen-287659","山水図屏風二","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[24,154,7803,90,30,255,7,184],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153ae9a4d52cfc936e158634dfc01042.jpg",[],{"id":7807,"slug":7808,"title":7809,"dynasty":85,"author":390,"museum":212,"description":7810,"tags":7811,"thumbUrl":7813,"material":678,"size":679,"collection":120,"collections":7814,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},283634,"yu-yu-yu-qing-tu-yi-ming-283634","欲雨欲晴图","此作用米家山水的晕染之法，绘就江南烟霭迷离之景。远景山峦隐没在翻涌云岚间，墨色轻淡柔和，虚实掩映间衬出山光断处的幽远意境。近景汀洲水岸边，村居错落隐在葱郁林木中，板桥连通两岸，扁舟系在浅滩，漾出水乡安闲静穆的日常意趣。\n\n画面以水墨晕染尽显欲雨将晴的湿润空蒙，水汽漫过江渚，笼住层林远山，将江南湿润清宁的氛围感拉满。留白与墨色相融相生，把天地间的朦胧柔婉尽数铺展，带着文人画独有的雅致诗意，观之如亲赴烟雨中的江南水乡，静赏闲淡日常，尽显山水画平淡天真的隽永意趣。",[23,24,154,595,90,28,59,60,91,7,184,37,35,95,170,7812,2115],"欲雨欲晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a0a5ee8f2e9049eb7b495a8bba539d.jpg",[],{"id":7816,"slug":7817,"title":7225,"dynasty":129,"author":2409,"museum":212,"description":2410,"tags":7818,"thumbUrl":7819,"material":120,"size":120,"collection":120,"collections":7820,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},238818,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238818",[24,25,381,28,30,29,94,59,60,57,7,93,797,255,35,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d45dcffa582ad09361b4fe6129d7e2.jpg",[],{"id":7822,"slug":7823,"title":1037,"dynasty":129,"author":2135,"museum":212,"description":5309,"tags":7824,"thumbUrl":7825,"material":120,"size":120,"collection":100,"collections":7826,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},238312,"shan-shui-ce-dong-bang-da-238312",[24,90,94,381,30,59,60,91,35,7,184,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401a8f7deacb8e6ea14fd07f3dd0895c.jpg",[100,78],{"id":7828,"slug":7829,"title":7830,"dynasty":129,"author":7831,"museum":212,"description":7832,"tags":7833,"thumbUrl":7834,"material":678,"size":679,"collection":120,"collections":7835,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},237961,"qiu-jing-shan-shui-ye-zhang-ke-237961","秋景山水页","张柯","此作以秋山平湖为景，近岸崖石皴法朴厚，丹红、苍蓝林木错落，点染出深秋斑斓意趣，层岩间垂落的山泉更添灵动。空阔湖面间，几艘帆船静泊浅滩，汀洲村舍隐在烟霭之中，远景峰峦晕染如黛，淡远朦胧。左下角溪桥上的行旅缓步徐行，为清寂秋山增添了烟火暖意。\n\n画作以浅绛设色糅合水墨皴擦，色调清雅温润，笔墨简淡却意境悠长，将秋日山湖的清旷淡远铺陈开来，尽显文人山水的闲澹野逸之美，藏着秋日山林的幽寂萧散况味。",[24,28,30,381,94,93,35,332,34,7,62,57,134,2360,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f7609a10352d1d52dc64546c286f4b.jpg",[],{"id":7837,"slug":7838,"title":7839,"dynasty":85,"author":7840,"museum":212,"description":7841,"tags":7842,"thumbUrl":7844,"material":678,"size":679,"collection":120,"collections":7845,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},237378,"mo-chou-hu-shan-zhang-han-237378","莫愁湖扇","张瀚","张瀚（1510—1593），字子文，号元洲 ，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,25,1467,28,90,94,59,60,7,35,521,7843,92],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":7847,"slug":7848,"title":1037,"dynasty":85,"author":7849,"museum":212,"description":7850,"tags":7851,"thumbUrl":7852,"material":120,"size":120,"collection":120,"collections":7853,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},236929,"shan-shui-ce-qin-mao-de-236929","秦懋德","此作以淡墨写就平远之境，近坡古松虬曲错落，茅庐幽栖于林木间，野意自生。山峦以干笔轻皴，施淡墨晕染肌理，衬出山石朴拙质感。远景以留白衬出烟波浩渺，远山只作淡墨虚写，留白尽得水意空濛。\n\n书画合璧相映成趣，笔墨简淡秀润，摒弃繁复刻画，以极简意趣勾勒林泉幽致，将文人幽栖林下、寄情山水的襟怀融于尺幅之间，尽显静穆淡远的出世雅韵，藏着画者寄情林泉的隐逸心绪。",[24,25,381,90,94,96,30,215,199,7,134,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6798e239385714ccb8825c45b27d4d05.jpg",[],{"id":7855,"slug":7856,"title":1102,"dynasty":85,"author":7857,"museum":212,"description":7858,"tags":7859,"thumbUrl":7860,"material":120,"size":120,"collection":100,"collections":7861,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},236390,"shan-shui-zhou-ding-yun-peng-236390","丁云鹏","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,198,90,28,30,35,93,59,60,57,170,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[100,78],{"id":7863,"slug":7864,"title":1037,"dynasty":129,"author":7865,"museum":212,"description":7866,"tags":7867,"thumbUrl":7868,"material":120,"size":120,"collection":120,"collections":7869,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},236081,"shan-shui-ce-shen-zong-jing-236081","沈宗敬","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[24,25,154,381,28,90,94,30,93,35,7,134,892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":7871,"slug":7872,"title":1037,"dynasty":85,"author":2390,"museum":212,"description":7873,"tags":7874,"thumbUrl":7875,"material":120,"size":120,"collection":120,"collections":7876,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},235829,"shan-shui-ce-li-liu-fang-235829","此帧以淡墨写幽居秋山，古松拔地而起，枝桠舒展如盖，笔致苍劲老辣，自带虬劲古拙之态。山峦以干笔皴擦，墨色清润且层次分明，留白处漾出空寂萧散之意。林麓间村居隐现，暗合山居幽寂之趣。\n\n题语评其近董巨遗风，墨淡而神完气厚，不假浓艳而丘壑自存，将江南秋山的清寂淡远尽藏毫端，笔底见出文人画的简雅风神，于水墨疏淡中见出沉厚的笔墨功底，尽显静穆淡远的山水逸韵。",[154,24,25,381,90,94,30,255,93,7,35,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50162dc314f052934b135c96165978d2.jpg",[],{"id":7878,"slug":7879,"title":1037,"dynasty":85,"author":2390,"museum":212,"description":7880,"tags":7881,"thumbUrl":7882,"material":120,"size":120,"collection":120,"collections":7883,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},235824,"shan-shui-ce-li-liu-fang-235824","此作用笔取法米氏云山，以淡墨晕染铺就烟霭空濛之境。远山如黛隐现于云气间，似有若无，尽显朦胧悠远之致。近岸浅滩错落，林木萧疏朴拙，村居隐于林下，野意悠然自生。\n笔墨干湿互济，以浓淡墨色晕染烘托出江南水乡的氤氲诗意，不见繁复勾勒，却将烟岚流荡之态尽现纸面。题画文辞呼应画意，尽显作者对米家山水意趣的追慕，以简淡笔墨写就林泉幽居之雅，不重具象描摹，而重写意传神，将文人寄情丘壑的幽怀融于尺幅之间，整幅淡远空灵，余韵悠长，尽显文人山水的写意风神。",[24,25,381,90,30,215,269,199,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8c27eb6646485221b61effc069f39a.jpg",[],{"id":7885,"slug":7886,"title":7887,"dynasty":129,"author":7888,"museum":212,"description":7889,"tags":7890,"thumbUrl":7891,"material":120,"size":120,"collection":120,"collections":7892,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},234610,"xi-hou-qiu-shuang-wan-shan-dai-zhao-chun-234610","溪后秋爽纨扇","戴兆春","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,1467,28,30,35,7,60,91,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdb187bcaee672d3d96a7cbb899d68a.jpg",[],{"id":7894,"slug":7895,"title":7072,"dynasty":129,"author":7896,"museum":20,"description":7073,"tags":7897,"thumbUrl":7898,"material":120,"size":120,"collection":120,"collections":7899,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},233224,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-fan-qi-233224","樊圻",[154,24,90,28,381,30,60,113,93,7,675,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c5190e81e68a4b580c0740a4267030.jpg",[],{"id":7901,"slug":7902,"title":7903,"dynasty":18,"author":390,"museum":20,"description":7904,"tags":7905,"thumbUrl":7907,"material":40,"size":7908,"collection":120,"collections":7909,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},233011,"zhang-qiao-wo-bo-tu-ye-yi-ming-233011","长桥卧波图页","图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[24,28,56,1229,30,7906,58,405,35,7,134,835],"长桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff190bf4877f961e8ce23154aa6cf5beb.jpg","纵23.9厘米，横26.3厘米",[],{"id":7911,"slug":7912,"title":7913,"dynasty":210,"author":390,"museum":212,"description":7914,"tags":7915,"thumbUrl":7916,"material":120,"size":120,"collection":120,"collections":7917,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},231498,"fang-yan-ci-ping-qiu-shan-yan-ai-tu-yi-ming-231498","仿阎次平秋山烟霭图","作品采用水墨绘淡墨远山，烟霭朦朦，若隐若现。下部作山坡秋树，山坡处用笔勾出染色，画树枝用劲硬笔法，但整幅画面以水墨渲染为主，以墨色的浓淡分出层次，有“岚顶柔和”的风格，近乎秀润清真。",[24,90,30,133,94,255,215,5437,7,893,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb15a715752a8a2d45a46006977cceaf.jpg",[],{"id":7919,"slug":7920,"title":7921,"dynasty":129,"author":2409,"museum":212,"description":7922,"tags":7923,"thumbUrl":7924,"material":120,"size":120,"collection":120,"collections":7925,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":104},230250,"hua-jian-la-ying-xiang-ce-dong-gao-230250","画饯腊迎祥册","此作画意清和淡远，枯木虬枝舒展，寒林间啼禽栖止，竹影清疏衬着玲珑湖石，村舍院落隐于林后，小童行人缓步其间，晕开松弛乡野意趣。笔墨秀润清逸，枯木苍劲而不萧瑟，竹林隽秀空灵，淡墨轻晕出远山朦胧的冬日余韵。\n\n右侧题诗配雅致小楷，将晓禽报春、岁末祈康的心意融于画中，诗画相映。把乡翁扶杖待春的朴拙喜乐藏在细节里，以寻常村野小景，织就岁末迎春纳祥的温柔温情，尽显文人雅致闲淡意趣与世俗祈愿的交融之美。",[24,25,381,29,28,57,113,200,116,675,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4020cb0580c7fcf23b624e65dd138147.jpg",[],{"id":7927,"slug":7928,"title":7929,"dynasty":85,"author":390,"museum":212,"description":7930,"tags":7931,"thumbUrl":7933,"material":120,"size":120,"collection":120,"collections":7934,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,24,25,26,28,29,57,62,67,7,7932,2479,30,35,95,170],"帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],{"id":7936,"slug":7937,"title":7938,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":7939,"thumbUrl":7942,"material":678,"size":679,"collection":680,"collections":7943,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":48},226059,"the-church-at-ve-theuil-snow-1878-1879-mo-nai-226059","The 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尽显文人画的雅致与古拙。",[23,24,25,90,94,381,95,170,30,35,255,93,135,7,134,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c233ceace0d052277ef7c6007ee54.jpg",[100],"817666",{"id":8020,"slug":8021,"title":3126,"dynasty":129,"author":6524,"museum":87,"description":8022,"tags":8023,"thumbUrl":8026,"material":120,"size":120,"collection":100,"collections":8027,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":8028},203458,"fang-gu-shan-shui-ce-lan-meng-203458","画面以淡墨皴染铺陈冬日山水，山峦覆雪如银，枯树虬枝缀霜，屋舍隐于林麓间，静谧悠然。近景小桥横溪，红衣行人策杖而行，点染出寒冬生机。笔墨苍劲秀润，山石用皴法显肌理，树木枝干中锋勾勒见骨力，留白衬雪意空灵。整体意境清寂悠远，承袭古意又含个人笔墨情致，将冬日山水的幽趣融于册页之中。",[23,381,90,28,133,94,30,59,114,116,556,7,8024,93,869,3031,8025,3754,1415,832],"枯枝","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77df8ec4b2e964f0158c25d8a7390d34.jpg",[100],"9a9887",{"id":8030,"slug":8031,"title":1781,"dynasty":18,"author":7791,"museum":212,"description":7792,"tags":8032,"thumbUrl":8033,"material":678,"size":679,"collection":120,"collections":8034,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},290296,"shan-shui-tu-guo-zhong-shu-290296",[24,154,595,28,94,30,91,113,7,675,60,184,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992854c151e737f5a0d86f76e823f47d.jpg",[],7,{"id":8037,"slug":8038,"title":3593,"dynasty":129,"author":8039,"museum":212,"description":8040,"tags":8041,"thumbUrl":8042,"material":678,"size":679,"collection":120,"collections":8043,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},288473,"shan-shui-tu-li-zhou-lin-san-zhi-288473","林散之","近岸林木枝桠苍劲，以浓淡墨色点染枝叶，野趣横生。渔舟缓行江面，水波澹澹漾开清寂意趣。中景峰峦列峙，皴擦间见山石嶙峋质感，溪桥卧波，村居错落枕水，将烟火意趣揉入山水丘壑。\n\n远景岫顶以淡青晕染，烟岚轻笼云山，虚实相生晕开朦胧空濛。画作以书入画，线条老辣朴拙，干湿浓墨层次分明，题诗与画面浑然相融，将江南水村的清灵闲逸晕染开来，笔底藏着温润生机，尽现水墨山水的雅致禅意。",[23,24,198,90,28,30,59,60,91,184,35,7,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4090f06345b2d4fb4d4645a25caede3.jpg",[],{"id":8045,"slug":8046,"title":8047,"dynasty":85,"author":4048,"museum":212,"description":8048,"tags":8049,"thumbUrl":8050,"material":678,"size":679,"collection":120,"collections":8051,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},287951,"shan-shi-qing-lan-tu-ye-li-shi-da-287951","山市晴岚图页","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。",[23,154,24,25,381,90,28,30,4991,35,7,217,596,96,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c6f4dea0a508712866a8b7f90be74.jpg",[],{"id":8053,"slug":8054,"title":8055,"dynasty":85,"author":4048,"museum":212,"description":8048,"tags":8056,"thumbUrl":8057,"material":678,"size":679,"collection":120,"collections":8058,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},287950,"yuan-pu-gui-fan-tu-ye-li-shi-da-287950","远浦归帆图页",[23,154,24,25,381,28,90,30,114,7,91,96,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7f026455b9d53abbdd4913cbba54aea.jpg",[],{"id":8060,"slug":8061,"title":3749,"dynasty":129,"author":3750,"museum":212,"description":8062,"tags":8063,"thumbUrl":8064,"material":120,"size":120,"collection":120,"collections":8065,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[24,28,94,832,198,30,215,269,92,199,7,138,62,57,113,723,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],{"id":8067,"slug":8068,"title":8069,"dynasty":85,"author":8070,"museum":212,"description":8071,"tags":8072,"thumbUrl":8074,"material":678,"size":679,"collection":120,"collections":8075,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[24,198,90,94,30,543,3804,8073,91,544,113,93,58,7,36],"垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],{"id":8077,"slug":8078,"title":2442,"dynasty":129,"author":8079,"museum":212,"description":8080,"tags":8081,"thumbUrl":8082,"material":120,"size":120,"collection":120,"collections":8083,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},238951,"shan-shui-ce-ye-xu-ji-238951","徐稷","此作用笔秀润温婉，取景错落有致。远景山峦以淡墨铺底，敷染浅青淡赭，晕染出空蒙氤氲的烟岚之态，一道飞瀑垂落山坳，破了山林沉静，添入灵动生机。近景苍松虬劲挺拔，坡岸林木错落，茅庐隐于松荫竹篱间，浅滩静水如镜，将草木坡岸揽入其中。\n\n整体画风恬静淡远，以文人意趣写山居幽境，笔墨间带着松弛的闲雅之感，落款题字与朱印排布和谐，文气盎然，仿若将观者带入林泉高致的世外山居，尽显悠然淡逸的林下之风。",[24,25,381,28,30,255,229,93,35,7,135,184,94,4289,2435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4c1aa378028f3d4780004c5b4b9bfc.jpg",[],{"id":8085,"slug":8086,"title":3092,"dynasty":129,"author":3093,"museum":212,"description":8087,"tags":8088,"thumbUrl":8090,"material":678,"size":679,"collection":120,"collections":8091,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},238452,"geng-zhi-tu-ce-mian-yi-238452","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[28,381,29,57,3946,8089,35,7,32,3097,3100],"稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba7403b6f63f243f90a304d96568969.jpg",[],{"id":8093,"slug":8094,"title":6429,"dynasty":129,"author":8095,"museum":212,"description":8096,"tags":8097,"thumbUrl":8098,"material":678,"size":679,"collection":120,"collections":8099,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},237787,"fang-huang-gong-wang-shan-shui-shan-ye-shang-rui-237787","上睿","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[24,1467,90,28,30,35,184,7,133,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd80156e1c877cc9878365fa3b24be34.jpg",[],{"id":8101,"slug":8102,"title":1037,"dynasty":129,"author":8103,"museum":212,"description":8104,"tags":8105,"thumbUrl":8106,"material":678,"size":679,"collection":120,"collections":8107,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},237529,"shan-shui-ce-chen-zi-237529","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,25,381,28,30,199,7,332,134,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdb98446a00a04a75bd167bb91460d1.jpg",[],{"id":8109,"slug":8110,"title":377,"dynasty":129,"author":4857,"museum":212,"description":4858,"tags":8111,"thumbUrl":8112,"material":678,"size":679,"collection":120,"collections":8113,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},237481,"shan-shui-tu-ce-yao-song-237481",[24,25,381,96,90,30,7,35,4598,34,57,60,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67170ba59ffaae6f0e74b8fbcae0fc5.jpg",[],{"id":8115,"slug":8116,"title":1037,"dynasty":129,"author":8117,"museum":212,"description":8118,"tags":8119,"thumbUrl":8120,"material":370,"size":120,"collection":100,"collections":8121,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},237425,"shan-shui-ce-chen-jia-le-237425","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,381,28,30,94,199,7,675,92,93,138,648,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703deb6406f183f4861a74f12275e6.jpg",[100],{"id":8123,"slug":8124,"title":1037,"dynasty":85,"author":7849,"museum":212,"description":8125,"tags":8126,"thumbUrl":8127,"material":120,"size":120,"collection":120,"collections":8128,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},236926,"shan-shui-ce-qin-mao-de-236926","此作以浅绛绘就林泉幽居，山峦以淡墨晕染出层叠清姿，屋舍隐于林木间，枯木与茂树错落生姿，溪岸苔石隐现，淡冶烟岚弥散，意境清寂超逸。\n\n左侧题诗笔致疏放，与画境相映成趣，诗中古亭烟冷、竹畔琴鸣之境，恰合画面幽居遁世之致。书画相融，以简淡笔墨写尽林丘雅意，暗含隐逸襟怀，淡而有神，简中见深，尽显文人山水以意驭形的隽雅之美。",[24,25,381,28,90,94,30,93,35,7,138,134,473,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b547f9f1efcce269ec8f5494f6a61fe.jpg",[],{"id":8130,"slug":8131,"title":1411,"dynasty":129,"author":390,"museum":212,"description":8132,"tags":8133,"thumbUrl":8134,"material":120,"size":120,"collection":120,"collections":8135,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},236061,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236061","此作用笔苍秀兼济，以干笔皴擦勾勒山石肌理，淡墨晕染晕出山峦明暗，层层铺展出远近景致。近岸水榭依溪而建，杂木扶疏间村舍隐现；中流渔舟静泊，对岸长松茂林覆裹崖岫；远景峰峦叠翠，烟岚轻笼，留白水面漾出空濛清寂。\n\n整体取法元人山水萧散简远之致，又暗合宋人丘壑的深幽格局，笔墨清润沉和，题识小字与画面浑然相融，尽显山居幽隐的闲澹意趣，是仿古山水中颇具韵致的佳构。",[24,25,381,832,94,90,170,30,184,35,7,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550a3bfc27e975b77c4e736c51f2550.jpg",[],{"id":8137,"slug":8138,"title":1037,"dynasty":129,"author":167,"museum":212,"description":8139,"tags":8140,"thumbUrl":8141,"material":120,"size":120,"collection":120,"collections":8142,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},236051,"shan-shui-ce-wang-yuan-qi-236051","此作用笔苍浑老辣，以干笔积墨反复皴染山峦，层层叠叠间尽显山石厚重质感。上部奇峰拔地而起，留白作云气萦绕山坳，将高旷幽深之意藏于留白间。下部水泽蜿蜒环抱着错落村居，萧疏林木点缀其间，晕染出冬日元寂清和的淡远氛围。\n\n画作以披麻解索皴写山石肌理，枯淡中见秀润，苍润结合间恪守正统笔墨宗法，将文人画的书卷气融于山水丘壑之内，静穆雅致中带着醇厚的笔墨意趣，尽显山水空濛萧散的冬日意韵。",[24,154,90,94,381,30,93,35,7,32,60,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc787e8552221060b97bb2fd4ea44b26a.jpg",[],{"id":8144,"slug":8145,"title":8146,"dynasty":129,"author":390,"museum":212,"description":8147,"tags":8148,"thumbUrl":8149,"material":120,"size":120,"collection":120,"collections":8150,"showCount":8035,"zanCount":385,"manualWeight":11,"mainColor":48},235709,"zou-zhe-shan-shui-tu-zhou-yi-ming-235709","邹喆山水图轴","此作取高远开合之景，左上危崖巉岩，笔墨挺劲勾勒出山峦硬朗骨相，古松虬曲扎根崖壁，枝叶舒展有凌云之姿。中景山居藏于林麓间，窗内人影对坐，为清冷山林晕开一缕烟火暖意。烟岚留白柔化层叠丘壑，将近溪、村居、远山林亭晕连成浑然整体，虚实相生。近滩乱石错落，清溪缓流，扁舟系于浅濑，野趣悠然。\n\n皴法融披麻与斧劈意趣，山石简练，林木点染疏密合宜，淡墨晕出山雾空濛，兼收北派雄健与南宗温润，将林泉幽居的隐逸清趣，藏于烟霞丘壑之中。",[24,198,28,94,30,93,35,7,60,58,113,255,134,500,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca0839c65b0165554e6b938fbdc82b.jpg",[],{"id":8152,"slug":8153,"title":377,"dynasty":129,"author":1339,"museum":212,"description":8154,"tags":8155,"thumbUrl":8156,"material":120,"size":120,"collection":120,"collections":8157,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},235645,"shan-shui-tu-ce-wu-li-235645","这幅山水以干笔皴擦铺陈丘壑，近岸村居错落疏朗，枯木伴卧波板桥，水色空濛间晕开江南平畴的幽寂。远山层叠浑厚，飞泉隐挂崖壁，林麓苍郁朴拙。\n\n笔墨苍秀简淡，带着元人山水的萧散意韵，将闲居丘壑的雅兴藏在淡墨轻岚中。整幅画恬澹冲和，缓缓铺展出山居清旷之致，把文人静穆的幽怀融于笔墨，于简淡中见沉郁朴厚的气韵，尽显文人山水画的雅致意趣。",[24,90,94,381,95,170,30,59,60,114,116,92,7,35,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e75ceb242252b4cd4f81ea3cef5820.jpg",[],{"id":8159,"slug":8160,"title":2898,"dynasty":129,"author":1258,"museum":212,"description":4545,"tags":8161,"thumbUrl":8162,"material":678,"size":679,"collection":120,"collections":8163,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},235342,"fang-gu-shu-hua-ce-wang-jian-235342",[24,25,381,28,30,94,93,35,135,7,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8342c055e93dd7a721d4cb1cb560485.jpg",[],{"id":8165,"slug":8166,"title":1037,"dynasty":129,"author":8167,"museum":212,"description":8168,"tags":8169,"thumbUrl":8170,"material":120,"size":120,"collection":120,"collections":8171,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},235334,"shan-shui-ce-wen-dian-235334","文点","此作用笔松秀简淡，以水墨写就林泉幽居之景。左侧怪石嶙峋、茂林匝地，围合出静谧茅舍，屋内有人凭窗闲坐，静享林间清趣。竹篱轻隔院落，稚童缓步空庭，更添悠然生机。远景苍松下，负手行者缓步林间，衬得山野愈加深幽。\n\n全幅无浓艳敷色，仅以淡墨勾勒皴擦，萧疏淡远的氛围里，铺陈出文人幽居日常的恬然隐逸，藏着寄情山水、安闲自适的林下雅意，尽显中式文人画独有的清寂淡远之美。",[24,25,381,90,30,199,723,7,57,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439e6fe608aad922cdc6827d484baa80.jpg",[],{"id":8173,"slug":8174,"title":8175,"dynasty":129,"author":2274,"museum":212,"description":8176,"tags":8177,"thumbUrl":8178,"material":678,"size":679,"collection":120,"collections":8179,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},235210,"qiu-lin-du-shu-tu-shan-ye-wu-hong-235210","秋林读书图扇页","扇页有自题：“甲辰二月画，为伸甫仁兄正之。竹史吴宏。”钤“吴”、“宏”联珠文印。“甲辰”是清康熙三年（1664年），吴宏时年49岁。\n吴宏在清顺治十年（1653年），38岁时曾渡黄河，游雪苑，从此以自然造化为师，自出意匠。此幅绘秋木掩映下，文士于茅舍内临窗品读的书斋生活。其构思奇巧，画作的主角读书人既非形体高大，也未处于画幅的醒目位置，而是只露上半身且背对着观者；其主体形象的确立，是作者巧妙地将读书人所在的茅舍置于秋木与山石的空隙间，纵横交错、枝杈繁多的树木，和以乱柴皴皴擦的石面烘托出了茅舍的齐整，读书人也就自然地成为全幅中最引人注目的对象",[24,1467,90,94,113,57,7,93,6527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2a2056d7a2cafa04b4a19edf913a47.jpg",[],{"id":8181,"slug":8182,"title":8183,"dynasty":129,"author":390,"museum":20,"description":8184,"tags":8185,"thumbUrl":8186,"material":186,"size":8187,"collection":120,"collections":8188,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},234900,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234900","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,381,28,30,96,170,93,35,57,7,5063,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1a7a2b025cd86472bf7005b6c04389.jpg","25.7×33厘米",[],{"id":8190,"slug":8191,"title":6161,"dynasty":85,"author":5802,"museum":212,"description":5803,"tags":8192,"thumbUrl":8193,"material":678,"size":679,"collection":120,"collections":8194,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},234837,"shan-shui-shan-wei-zhi-huang-234837",[24,25,1467,94,90,30,215,269,35,7,270,138,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7cc7f21928c26b8bcab83a21cec25e.jpg",[],{"id":8196,"slug":8197,"title":3126,"dynasty":129,"author":828,"museum":212,"description":8198,"tags":8199,"thumbUrl":8200,"material":142,"size":8201,"collection":120,"collections":8202,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},234718,"fang-gu-shan-shui-ce-wang-hui-234718","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,90,381,30,114,7,3120,134,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e29cb975f83fed9787f370f4a98f775.jpg","25.6厘米，横：20.5厘米",[],{"id":8204,"slug":8205,"title":5357,"dynasty":85,"author":5358,"museum":212,"description":5359,"tags":8206,"thumbUrl":8207,"material":120,"size":120,"collection":120,"collections":8208,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,26,30,90,28,94,184,35,32,346,7,765,1283,255,95,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":8210,"slug":8211,"title":5357,"dynasty":129,"author":8212,"museum":212,"description":8213,"tags":8214,"thumbUrl":8216,"material":120,"size":120,"collection":120,"collections":8217,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,25,26,90,94,30,35,93,7,32,134,138,834,8215,1688],"丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":8219,"slug":8220,"title":8221,"dynasty":85,"author":8222,"museum":20,"description":8223,"tags":8224,"thumbUrl":8225,"material":370,"size":120,"collection":120,"collections":8226,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,25,26,96,28,29,90,30,58,59,60,92,200,199,7,95,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":8228,"slug":8229,"title":8230,"dynasty":85,"author":483,"museum":20,"description":8231,"tags":8232,"thumbUrl":8234,"material":1372,"size":8235,"collection":120,"collections":8236,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,25,26,90,28,96,95,94,30,57,35,425,7,723,8233],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纵30.7厘米 横112.8厘米",[],{"id":8238,"slug":8239,"title":8240,"dynasty":129,"author":390,"museum":20,"description":7073,"tags":8241,"thumbUrl":8242,"material":120,"size":120,"collection":120,"collections":8243,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},233227,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-gao-yu-shan-shui-ye-yi-ming-233227","金陵诸家山水花卉册-高遇山水页",[24,25,381,90,94,30,93,35,229,60,7,138,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18007eb39db55e0516ed75e2fdad6c5.jpg",[],{"id":8245,"slug":8246,"title":8247,"dynasty":668,"author":390,"museum":212,"description":8248,"tags":8249,"thumbUrl":8251,"material":120,"size":120,"collection":120,"collections":8252,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},231770,"wang-gu-feng-su-hua-hui-juan-yi-yi-ming-231770","往古风俗画绘卷一","以淡彩平涂兼白描勾勒，铺展古时闾里全景。黛瓦白墙的院落层叠排布，庭间花木点缀，晕染出雅致生机。巷陌庭院间人物错落，或闲坐晤谈，或操持杂务，将日常烟火一一铺陈。画作线条清隽柔和，无繁复晕染，却把民居形制与鲜活世情相融，如一卷凝固的旧时生活切片，将平淡鲜活的市井日常定格绢素，尽显古雅世俗意趣，让观者得以窥见往昔巷弄里的安稳烟火与脉脉温情。",[23,7582,26,29,28,56,57,58,156,35,1488,7,8250],"生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac420d80bd8013ec8e31c27bcee4a3d.jpg",[],{"id":8254,"slug":8255,"title":8256,"dynasty":129,"author":828,"museum":212,"description":8257,"tags":8258,"thumbUrl":8259,"material":120,"size":120,"collection":120,"collections":8260,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},229023,"hong-ye-bai-yun-tu-wang-hui-229023","红叶白云图","此作用浅绛设色铺就秋山胜景，远景山峦隐在烟岚之中，虚渺朦胧似笼轻纱，尽显山林悠远空寂。中景层峰叠翠，茂林深秀，山居幽藏其间，流泉隐隐透出山野生机。近岸丹枫点染，古木盘曲苍劲，白石映着清溪，村舍错落排布，漾出闲适悠然的田园意趣。\n笔墨兼工带写，干笔皴擦勾勒山体肌理，淡墨晕染铺就流云轻烟，设色清润雅致，将秋日山林明静温煦的氛围晕开，既有古法山水的沉静古意，又饱含鲜活的自然意趣，把秋山清远秀逸之韵娓娓绘就。",[23,24,198,30,28,94,1168,880,93,35,59,60,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbb2a25874ce00d981fc9fd7c73488f.jpg",[],{"id":8262,"slug":8263,"title":1037,"dynasty":129,"author":2348,"museum":212,"description":8264,"tags":8265,"thumbUrl":8266,"material":120,"size":120,"collection":120,"collections":8267,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},228926,"shan-shui-ce-gao-qi-pei-228926","以指代笔，水墨写意。淡墨晕染出空濛烟岚，远山隐绰在暮雨薄雾之间，浑茫幽寂。近处以浓墨挥斫危崖，苍劲古木虬曲斜生，枝叶以焦墨点簇，朴拙老辣。临水村居简笔勾廓，素净雅致，静卧于溪岸之侧，流露出山野幽居的闲淡意趣。\n\n题诗与画境呼应，将春日迟暮、静听暮雨的萧散心境融于笔墨。整幅画面虚实相生，简淡空灵，以极简的笔墨勾勒出清远空寂的山居之境，尽显文人画简远疏淡的审美意趣。",[24,90,381,30,7,35,270,37,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0b4398013bfd218a1a58a5ceb209d.jpg",[],{"id":8269,"slug":8270,"title":8271,"dynasty":668,"author":2122,"museum":212,"description":2123,"tags":8272,"thumbUrl":8275,"material":678,"size":679,"collection":680,"collections":8276,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},226109,"the-road-at-giverny-in-winter-1885-mo-nai-226109","The Road at Giverny in Winter, 1885",[2125,672,8273,543,8274,113,7,648,1553,7109],"冬天","雪路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feafb5e18f9e27ccbf0402c1a3c83c423.jpg",[680],{"id":8278,"slug":8279,"title":8280,"dynasty":668,"author":669,"museum":212,"description":670,"tags":8281,"thumbUrl":8282,"material":678,"size":679,"collection":680,"collections":8283,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},225836,"the-road-menders2-1889-fan-gao-225836","The Road Menders2 1889",[672,673,28,114,350,57,1745,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c12932130ff872fdfdf67841694e767.jpg",[680],{"id":8285,"slug":8286,"title":8287,"dynasty":668,"author":669,"museum":212,"description":670,"tags":8288,"thumbUrl":8293,"material":678,"size":679,"collection":680,"collections":8294,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},225789,"orchards-in-blossom-view-of-arles-april-fan-gao-225789","Orchards in blossom, view of Arles (April - )",[672,673,3303,5385,8289,8290,1554,8291,7,8292,1553],"果园","开花树木","黄色野花","塔楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b8dc24448a79bd13da4318ce0d9df6.jpg",[680],{"id":8296,"slug":8297,"title":8298,"dynasty":668,"author":669,"museum":212,"description":670,"tags":8299,"thumbUrl":8302,"material":678,"size":679,"collection":680,"collections":8303,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},225765,"houses-in-auvers-fan-gao-225765","Houses in Auvers",[154,672,673,1713,3303,5385,7,8300,8301,3120,35,1553,5387,70,1744,648],"草顶","红顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfef57e96049a9ee0182a14132868945.jpg",[680],{"id":8305,"slug":8306,"title":8307,"dynasty":668,"author":390,"museum":212,"description":8308,"tags":8309,"thumbUrl":8310,"material":120,"size":120,"collection":120,"collections":8311,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},225431,"fu-shi-hui-189-yi-ming-225431","浮世绘189","暮月悬于淡墨长空，清辉漫过烟霭水乡。渔舟破水而行，梢公持篙稳立，舱中旅人团坐，任由扁舟载着归意漫溯。野凫惊起，剪开水面柔波，漾开细碎涟漪。远处岸汀林麓轻笼薄霭，茅舍隐在深翠间，浅渚疏枝晕染出清寂秋意。\n\n题画俳句错落排布，墨色与淡彩相融，将旅人的闲寂愁思晕开纸面。笔触清简秀雅，以淡赭、花青铺展暮色，留白衬出空濛水色，把暮归的悠然与水乡将夜的恬宁揉为一处，尽显侘寂清和的抒情画韵。",[3474,28,30,91,57,835,35,675,7,115,5493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129990f61e538d14cb452bf3756b362b.jpg",[],{"id":8313,"slug":8314,"title":8315,"dynasty":668,"author":390,"museum":212,"description":8316,"tags":8317,"thumbUrl":8322,"material":120,"size":120,"collection":120,"collections":8323,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},225336,"fu-shi-hui-89-yi-ming-225336","浮世绘89","这幅绘卷以清隽色调铺展乡野闲景，靛蓝晕染出澄澈天色与幽深水色，苔绿晕覆缓坡茂林，暖棕勾勒屋舍行人，层次柔和分明。盘山小径上，行旅之人步履匆匆，似奔赴前路；右侧瀑流奔涌入水，撞碎一汪清潭。前景屋舍错落，石砌护坡衬着覆茸缓坡，浓荫垂落晕染出夏日幽谧。\n\n线条工细流畅，既勾勒山石屋宇的硬朗轮廓，又晕出松枝流泉的灵动生机。将江户郊野的行旅日常，揉入山水景致间，恬淡悠然，尽显浮世市井里的乡野意趣。",[3474,3475,28,57,35,7,60,8318,1504,1551,8319,352,1915,8320,8321],"石砌","蓝绿色调","传统技法","市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b4cf62aebb4c5452ad32b795d10ad77.jpg",[],{"id":8325,"slug":8326,"title":8327,"dynasty":129,"author":688,"museum":212,"description":8328,"tags":8329,"thumbUrl":8330,"material":120,"size":120,"collection":120,"collections":8331,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[23,24,28,94,381,30,59,60,114,93,7,425,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":8333,"slug":8334,"title":8335,"dynasty":129,"author":167,"museum":212,"description":8336,"tags":8337,"thumbUrl":8338,"material":120,"size":120,"collection":120,"collections":8339,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,25,198,90,94,170,95,96,30,215,35,7,32,270,255,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":8341,"slug":8342,"title":8343,"dynasty":129,"author":8344,"museum":212,"description":8345,"tags":8346,"thumbUrl":8347,"material":120,"size":120,"collection":120,"collections":8348,"showCount":8035,"zanCount":385,"manualWeight":11,"mainColor":104},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","傅山","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[23,24,25,90,94,381,30,35,93,7,134,1873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":8350,"slug":8351,"title":8352,"dynasty":129,"author":2135,"museum":266,"description":2521,"tags":8353,"thumbUrl":8355,"material":1797,"size":8356,"collection":120,"collections":8357,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[23,24,25,198,29,94,28,95,170,96,30,57,7,35,93,113,8354],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":8359,"slug":8360,"title":8361,"dynasty":129,"author":8362,"museum":529,"description":8363,"tags":8364,"thumbUrl":8365,"material":8366,"size":8367,"collection":120,"collections":8368,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":120},220744,"shan-shui-ji-3-wang-shi-min-weng-ling-wu-hong-deng-220744","山水集3","王時敏,翁陵,吳宏等","此作用笔苍劲老辣，以披麻皴写山峦层叠，淡墨晕染间烟岚轻笼，尽显山川空濛灵秀。山脚村居错落掩映，古木扶疏，干笔点叶尽显虬枝苍劲，林泉间野趣悠然。\n\n画面兼具高远、平远之致，山峦逶迤舒展，将山野幽居的静穆闲逸融于尺幅，题款古雅朴拙，与画面意境相得益彰。整体清寂淡远，既有传统山水的章法意趣，又带着疏放的文人笔墨情致，藏着画师对林泉高致的栖心向往，淡墨轻岚间绘出江南山居的悠然意韵。",[24,90,94,381,30,215,199,7,60,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaae731b9dae7bc42a3658c425546d3d.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[],{"id":8370,"slug":8371,"title":8372,"dynasty":129,"author":732,"museum":87,"description":1686,"tags":8373,"thumbUrl":8374,"material":231,"size":1690,"collection":120,"collections":8375,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},219844,"shan-shui-tu-ce-3-xie-sun-219844","山水图册-3",[24,25,381,90,28,94,30,59,60,116,675,114,7,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894f4e4e75e6cb0b82c2f6114e520119.jpg",[],{"id":8377,"slug":8378,"title":8379,"dynasty":129,"author":8380,"museum":8381,"description":8382,"tags":8383,"thumbUrl":8385,"material":90,"size":120,"collection":120,"collections":8386,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":48},215650,"yu-zhi-geng-zhi-tu-4-kang-xi-215650","御制耕织图-4","康熙","哈佛艺术博物馆","墨线轻勾的田畴间，农人持具劳作，梯影斜倚土坡，远近村落与河渠相映，尽现田园生机；右侧垄上，播种者俯身忙碌，稚童随侍身侧，远山含黛，屋舍隐于林麓，一派耕读相和的恬静。画作以细腻笔触摹写耕织之序，既见劳作的质朴真意，亦藏对农本的深挚关怀。笔墨间流淌着对民生根基的珍视，于清雅景致中传递重农劝耕的传统理念，将日常劳作升华为兼具审美与教化意义的图景。",[23,24,25,305,29,3475,95,96,57,30,155,3097,7,35,3100,1504,2286,8384],"水渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806e0394367a21701d2bb9397010a44f.jpg",[],{"id":8388,"slug":8389,"title":6130,"dynasty":129,"author":1258,"museum":226,"description":5287,"tags":8390,"thumbUrl":8391,"material":98,"size":120,"collection":120,"collections":8392,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":104},215017,"fang-gu-shan-shui-ce-12-wang-jian-215017",[23,24,90,94,381,30,35,7,32,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa64987ad1423d4a67f46875822ed31d.jpg",[],{"id":8394,"slug":8395,"title":8396,"dynasty":129,"author":252,"museum":87,"description":8397,"tags":8398,"thumbUrl":8399,"material":120,"size":120,"collection":100,"collections":8400,"showCount":8035,"zanCount":11,"manualWeight":11,"mainColor":8401},203463,"xi-nan-ba-jing-tu-ce-shi-tao-203463","溪南八景图册","墨色淋漓间，山水之趣跃然纸上。枯笔皴擦出老树虬枝，湿墨晕染出云雾轻笼，小桥横卧溪上，茅屋隐于林麓，飞鸟数点划破空寂。笔意纵恣不拘，于浓淡虚实中见生机，尽显自然野逸之态。石涛以心观物，将对山水的体悟凝于笔端，画面清寂却不失灵动，每一处笔墨皆藏着对天地的深情。",[23,24,25,90,381,94,59,60,35,7,93,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f24a13e1f7609d0a2297e67a9313067.jpg",[100],"bab3aa",{"id":8403,"slug":8404,"title":8405,"dynasty":85,"author":7857,"museum":212,"description":8406,"tags":8407,"thumbUrl":8409,"material":678,"size":679,"collection":120,"collections":8410,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},287442,"qiu-jiang-lun-dao-tu-ding-yun-peng-287442","秋江论道图","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[1467,24,25,28,30,57,35,60,7,170,94,8408],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa9414f96ce5c74dd7c82367b21521f.jpg",[],{"id":8412,"slug":8413,"title":3864,"dynasty":129,"author":3865,"museum":212,"description":8414,"tags":8415,"thumbUrl":8416,"material":120,"size":120,"collection":120,"collections":8417,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},239538,"fang-gu-ji-you-tu-ce-huang-yi-239538","此作用笔简淡清润，右侧以水墨晕染村居小景，矮屋茅舍错落，枯树疏枝苍劲，三两村人往来檐下，日常鲜活的乡居意趣扑面而来。左侧题长款书法，笔墨朴拙古雅，书画合璧，相映成趣。全画以留白铺就空寂萧散的意境，将访古归游的悠然心境寄寓在寻常村陌景致中，平淡天真间尽显文人画诗、书、意相融的雅韵，藏着清寂淡远的古意，把闲逸疏朗的情志融在浅淡笔墨里。",[24,25,381,90,96,57,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe161ab7ed58100d20e62f97d0f1a0260.jpg",[],{"id":8419,"slug":8420,"title":3117,"dynasty":129,"author":167,"museum":212,"description":8421,"tags":8422,"thumbUrl":8423,"material":120,"size":120,"collection":120,"collections":8424,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},239462,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-yuan-qi-239462","此作用笔苍劲老辣，以干笔积墨反复皴擦，山峦层叠间尽显丘壑幽深。高远山势裹挟飞泉垂落，平远水畔山居错落，林木扶苏掩映村居，咫尺画幅铺展出萧散淡远的山居清景。墨色干湿浓淡相济，苍润浑厚间带着元人山水的简淡意趣，却又自具沉雄苍莽的厚重质感，将江南山水的温润灵秀与文人画的书卷静气相融，笔底元气淋漓，于细碎皴染中见整饬章法，静穆雅致中藏着自然生机，尽显正统山水画的隽永风神。",[154,24,25,381,90,94,30,215,1040,199,200,7,135,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb1160b0f5169ea7571f4877751466b.jpg",[],{"id":8426,"slug":8427,"title":8428,"dynasty":129,"author":3182,"museum":212,"description":8429,"tags":8430,"thumbUrl":8431,"material":120,"size":120,"collection":120,"collections":8432,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},239204,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239204","三大名山十二图册","此作以干笔淡墨写就溪山幽居，层岩叠岫以披麻皴出质，苍松石上扎根、崖边错落。山溪蜿蜒，板桥卧波引渡，村居隐于林麓烟霭间，一派清冷出尘的野逸之境。\n\n笔墨萧疏简淡，不事浓丽雕琢，枯淡勾勒间藏着沉郁清刚的骨力，将林泉之志寄寓丘壑。题字与绘景相融，以画托意，在静穆淡远的林下风致里，藏着遗世独立的襟怀，简淡中见苍茫，平淡里寄深情。",[24,90,381,95,170,94,30,59,60,93,35,7,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64ccfa451445c9655d321ed12af4da0.jpg",[],{"id":8434,"slug":8435,"title":3092,"dynasty":129,"author":3093,"museum":212,"description":8087,"tags":8436,"thumbUrl":8437,"material":678,"size":679,"collection":120,"collections":8438,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},238453,"geng-zhi-tu-ce-mian-yi-238453",[24,25,381,28,29,57,7,35,3097,3099,1717,156,3686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7421078304bc23a48d26f0253375dea.jpg",[],{"id":8440,"slug":8441,"title":1037,"dynasty":129,"author":3846,"museum":212,"description":8442,"tags":8443,"thumbUrl":8444,"material":120,"size":120,"collection":120,"collections":8445,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},238206,"shan-shui-ce-tang-dai-238206","此页以淡墨皴擦绘就，远山迤逦含烟，以干笔披麻皴勾勒山石肌理，苍朴厚重。坡岸林木攒簇，浓淡墨色拉开远近层次，将郊野幽寂之境铺陈开来。\n\n诗画一体，题诗尽述水村闲意，画里孤舟泛于浅波，野意横生，尽显林泉高致。墨色清润雅致，笔意沉稳秀逸，于尺幅间揽尽山光水色，将幽居野客疏离尘嚣的林下襟怀融于笔墨，淡远空濛，尽显文人山水的萧散意趣。",[24,25,381,90,94,30,215,199,269,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c15854ee2832b0754c3be0fd59fad9a.jpg",[],{"id":8447,"slug":8448,"title":1037,"dynasty":129,"author":8449,"museum":212,"description":8450,"tags":8451,"thumbUrl":8452,"material":120,"size":120,"collection":100,"collections":8453,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},238176,"shan-shui-ce-song-jun-ye-238176","宋骏业","字声求，号坚甫，江苏常熟人，一作江苏苏州人。累官至兵部右侍郎。善书画，笃好山水，因聘王翚于家而画学大进。",[24,25,154,381,28,94,95,96,30,199,1040,59,60,7,134,473,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24387526728024399cb9afeca90edaa9.jpg",[100,45],{"id":8455,"slug":8456,"title":1037,"dynasty":129,"author":2597,"museum":212,"description":2598,"tags":8457,"thumbUrl":8458,"material":120,"size":120,"collection":120,"collections":8459,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":48},238143,"shan-shui-ce-yun-xi-238143",[24,90,28,94,381,30,543,215,269,113,7,93,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc339c6de087e38704a500ba1e8ac0145.jpg",[],{"id":8461,"slug":8462,"title":1037,"dynasty":129,"author":2597,"museum":212,"description":2598,"tags":8463,"thumbUrl":8464,"material":120,"size":120,"collection":120,"collections":8465,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},238140,"shan-shui-ce-yun-xi-238140",[24,90,94,30,91,544,113,93,60,134,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d48b2ed33b731d2b7fc787c0de2a210.jpg",[],{"id":8467,"slug":8468,"title":8469,"dynasty":129,"author":3603,"museum":212,"description":8470,"tags":8471,"thumbUrl":8472,"material":120,"size":120,"collection":120,"collections":8473,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},238104,"hong-wu-shan-shui-ce-hong-wu-238104","弘旿山水册","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,381,90,28,30,199,1040,34,7,170,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8792684124431ea5ed75feb11f6a9de5.jpg",[],{"id":8475,"slug":8476,"title":8469,"dynasty":129,"author":3603,"museum":212,"description":8470,"tags":8477,"thumbUrl":8478,"material":120,"size":120,"collection":120,"collections":8479,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},238102,"hong-wu-shan-shui-ce-hong-wu-238102",[24,25,381,28,94,30,199,7,723,60,134,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ae4ebbb954d15b31de4e3dc84191b9.jpg",[],{"id":8481,"slug":8482,"title":1037,"dynasty":129,"author":8483,"museum":212,"description":8484,"tags":8485,"thumbUrl":8486,"material":678,"size":679,"collection":120,"collections":8487,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},236994,"shan-shui-ce-zhang-xi-236994","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,25,381,90,30,556,35,7,91,96,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e9c6755ff90ac06b048291d1e6781c.jpg",[],{"id":8489,"slug":8490,"title":8491,"dynasty":85,"author":390,"museum":212,"description":8492,"tags":8493,"thumbUrl":8494,"material":678,"size":679,"collection":120,"collections":8495,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":48},236685,"shen-shi-shan-shui-shan-yi-ming-236685","沈仕山水扇","此作用泥金笺为底，以浅绛设色绘就林泉山居。近岸枯木虬枝、杂卉错落，中景山峦逶迤，松杉掩映间藏有村舍山居，远景云气轻笼峰巅，留白虚实相生，铺展出深远山水格局。笔墨秀润清逸，皴笔简括勾勒山石肌理，淡赭晕染铺就秋意，将幽寂散淡的文人意趣融于尺幅之间，把江南林泉的清寂悠然，收束于盈尺扇面之中，观之可品林泉高致，静悟山居闲雅之趣。",[24,25,1467,28,94,30,35,7,59,60,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb795d7931b95a82c97135d2c8d68e.jpg",[],{"id":8497,"slug":8498,"title":8499,"dynasty":129,"author":8500,"museum":20,"description":8501,"tags":8502,"thumbUrl":8503,"material":120,"size":120,"collection":120,"collections":8504,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},236648,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236648","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,381,96,90,94,30,116,35,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29977ccc3743cdca9c020690be5a9a8b.jpg",[],{"id":8506,"slug":8507,"title":8508,"dynasty":129,"author":390,"museum":212,"description":8509,"tags":8510,"thumbUrl":8511,"material":120,"size":120,"collection":120,"collections":8512,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},236072,"yun-xi-yu-zhuang-shan-she-tu-zhou-yi-ming-236072","允禧渔庄山舍图轴","此作全景式铺展山林丘壑，青绿设色温润雅致，晕染出古雅氛围感。层叠山峦以细腻皴法勾勒筋骨，苔点错落尽显草木丰茂，留白云气缠绕峰腰，将山势衬得愈发空灵悠远。\n\n溪泉穿谷绕村，山舍渔庄错落隐于林麓水畔，屋舍俨然、林木扶苏，将幽居野逸的闲情融于山水间。画作笔法秀润兼具，既得山川浑厚之态，又铺陈出文人梦寐的林泉高致，静穆中带着鲜活生机，尽显传统山水里寄情林泉的雅趣。",[24,28,30,94,198,184,35,60,59,7,91,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba433d5ff3e91f793fb3c6d7c42d71b.jpg",[],{"id":8514,"slug":8515,"title":1037,"dynasty":129,"author":167,"museum":212,"description":8516,"tags":8517,"thumbUrl":8518,"material":120,"size":120,"collection":120,"collections":8519,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},236047,"shan-shui-ce-wang-yuan-qi-236047","此作用笔苍浑老辣，以干笔积墨反复皴擦，山石纹理厚重苍润，元气内敛。画面取深远山居之景，右侧危崖高耸，苍松虬劲扎根崖间，山道蜿蜒盘桓。山坳间村居错落，隐于林木荫蔽之下，下方溪岸回环，水色空濛。整体气息静穆高古，将山川浑厚之态与文人幽居的萧散意趣融为一体，于细碎笔墨堆叠间，尽显山川郁勃生机与静谧禅意，以笔墨抒发胸中丘壑，淡去实景具象，尽显传统文人画的写意精神。",[24,25,381,90,94,30,35,7,93,869,60,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb61c8fd7f283af5cd3fc4529f64c10.jpg",[],{"id":8521,"slug":8522,"title":1037,"dynasty":129,"author":167,"museum":212,"description":6681,"tags":8523,"thumbUrl":8524,"material":678,"size":679,"collection":120,"collections":8525,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},236046,"shan-shui-ce-wang-yuan-qi-236046",[24,381,90,28,30,93,35,425,7,60,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e0082a6a6d52c9ed83adac98bc3098.jpg",[],{"id":8527,"slug":8528,"title":1037,"dynasty":85,"author":2390,"museum":212,"description":8529,"tags":8530,"thumbUrl":8531,"material":120,"size":120,"collection":120,"collections":8532,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":104},235825,"shan-shui-ce-li-liu-fang-235825","此作以水墨晕染出江南幽居之景，近岸老松错落苍劲，村居隐于林麓，远山以淡墨轻扫，留白晕开空濛水汽，尽显萧散淡远之致。\n\n题跋点出此画于简淡中藏精妙，取法先贤又自出机杼，笔意松秀温润，将文人幽居林泉的襟怀寄寓其中。以干湿浓淡的水墨层次，勾勒出山林静穆清和的氛围，把江南山水的温润雅致凝于尺幅之间，淡而弥永，悠悠诗意漫溢纸面，尽显文人画尚韵重意的隽永特质。",[154,24,25,381,90,30,215,199,7,269,37,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c930a53074b4f73f98b23eeeb0df25.jpg",[],{"id":8534,"slug":8535,"title":1037,"dynasty":85,"author":2390,"museum":212,"description":8536,"tags":8537,"thumbUrl":8538,"material":120,"size":120,"collection":120,"collections":8539,"showCount":145,"zanCount":11,"manualWeight":11,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Seine at Petit-Gennevilliers, 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“负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,25,90,94,381,30,199,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2cba6502a5b1a0885bc0c3a2d2db7a.jpg",[],{"id":8844,"slug":8845,"title":8551,"dynasty":85,"author":8846,"museum":212,"description":8847,"tags":8848,"thumbUrl":8849,"material":120,"size":120,"collection":120,"collections":8850,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":48},236898,"shan-shui-hua-hui-ce-shao-mi-236898","邵弥","此作用笔秀雅温润，淡墨皴染远山，峦峰清逸空灵，山巅墨点似野禽幽栖，晕染出空濛悠远的山境。近处以浅设色铺陈山居小景：茅庐依水而建，窗内幽人凭窗远眺，竹篱环护庭院，嘉木扶疏间，深浅笔墨晕开枝叶枯荣，苔石隐现于石径之侧。\n整幅小品以清简之景，铺展出文人耽于林泉、静悟自适的幽怀，淡色浅墨里藏着枯寂出尘的意趣，咫尺画幅间尽显林丘深致，静中生味，淡而弥远，将山居幽寂的雅致氛围渲染得恰到好处。",[24,25,381,28,30,184,35,7,1794,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9b34fcd3e436889591a2b7b07caa814.jpg",[],{"id":8852,"slug":8853,"title":6793,"dynasty":129,"author":7097,"museum":212,"description":8854,"tags":8855,"thumbUrl":8856,"material":678,"size":679,"collection":120,"collections":8857,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":48},236810,"shan-shui-shan-ye-lu-yuan-236810","陆远，字静致。善水山，宗法米氏。康熙四年（1665）山水扇现藏故宫博物院，康熙二十三年（1684）《观梅图》著录於《南宗名画苑》。",[24,1467,90,94,30,35,7,59,60,134,473,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3d82a1ce70331d455d53455088d3be4.jpg",[],{"id":8859,"slug":8860,"title":6161,"dynasty":85,"author":3970,"museum":212,"description":8861,"tags":8862,"thumbUrl":8863,"material":678,"size":679,"collection":120,"collections":8864,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},236803,"shan-shui-shan-zhang-fu-236803","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[1467,24,90,94,30,93,35,7,229,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc58f5b024c4ac0cd1f305e5da541523f.jpg",[],{"id":8866,"slug":8867,"title":6161,"dynasty":85,"author":2264,"museum":212,"description":8868,"tags":8869,"thumbUrl":8870,"material":678,"size":679,"collection":120,"collections":8871,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},236668,"shan-shui-shan-zhang-hong-236668","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[1467,24,25,30,90,94,35,93,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a54959651ce413599b2504d7fa9211.jpg",[],{"id":8873,"slug":8874,"title":8875,"dynasty":129,"author":8876,"museum":20,"description":8877,"tags":8878,"thumbUrl":8879,"material":40,"size":8880,"collection":120,"collections":8881,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},236119,"shan-shui-lou-ge-ce-chen-mei-236119","山水楼阁册","陈枚","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,28,56,381,30,58,7,35,3305,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b8f9776e5f067c9a0d99025637160c.jpg","纵31厘米，横25.3厘米",[],{"id":8883,"slug":8884,"title":8875,"dynasty":129,"author":8876,"museum":20,"description":8877,"tags":8885,"thumbUrl":8886,"material":40,"size":8880,"collection":120,"collections":8887,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},236116,"shan-shui-lou-ge-ce-chen-mei-236116",[24,25,381,56,28,30,58,35,7,93,170,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c0e745bb9a732cd55a9a3d88bfd7936.jpg",[],{"id":8889,"slug":8890,"title":8891,"dynasty":129,"author":8892,"museum":212,"description":8893,"tags":8894,"thumbUrl":8895,"material":120,"size":120,"collection":120,"collections":8896,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},236104,"chun-jing-shan-shui-tu-zhou-li-shi-zhuo-236104","春景山水图轴","李世倬","此作用淡绛设色铺陈春日山居，先以烟霭笼住远山，浅披麻皴勾勒出山峦温润质感，春日空濛尽现。开阔平缓的水面上，板桥木桥连缀溪村，错落村舍隐于初绽的柳桃之间，浅粉嫩绿晕开融融春意。\n\n画面动静相生，溪水流淌衬出村野静谧，将元人山水的空灵雅致与清丽设色意趣相融，把春日水乡的闲逸山居图景缓缓铺展，尽显山乡春日里的柔润生机与世外幽宁。",[24,28,30,198,59,60,35,7,184,37,797,7161,94,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1c09a715a0baa9e13a5302b519b433.jpg",[],{"id":8898,"slug":8899,"title":377,"dynasty":129,"author":8900,"museum":212,"description":8901,"tags":8902,"thumbUrl":8903,"material":678,"size":679,"collection":120,"collections":8904,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},235906,"shan-shui-tu-ce-guan-quan-235906","官铨","官铨（公元17-18世纪初）〔清〕字方楷，号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[24,25,381,90,94,30,59,93,35,7],"https:\u002F\u002F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，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。",[24,90,94,1467,30,199,215,7,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac4bb7b697b3d9731b05ee283046707.jpg",[],{"id":8942,"slug":8943,"title":8944,"dynasty":18,"author":390,"museum":20,"description":8945,"tags":8946,"thumbUrl":8947,"material":186,"size":8948,"collection":120,"collections":8949,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":48},234038,"si-lun-tu-zhou-yi-ming-234038","丝纶图轴","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[24,25,198,90,28,94,95,96,30,35,255,7,57,138,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 横37.5厘米",[],{"id":8951,"slug":8952,"title":8953,"dynasty":668,"author":390,"museum":212,"description":8954,"tags":8955,"thumbUrl":8957,"material":678,"size":679,"collection":120,"collections":8958,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":48},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 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所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,154,24,25,198,30,28,94,215,543,67,199,7,270,135,57,9016,113,9017],"骆驼","石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":9021,"slug":9022,"title":3092,"dynasty":129,"author":4193,"museum":20,"description":6317,"tags":9023,"thumbUrl":9024,"material":120,"size":6322,"collection":120,"collections":9025,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},223200,"geng-zhi-tu-ce-jiao-bing-zhen-223200",[24,25,381,29,28,57,7,59,60,35,3096,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2373f4bbfbe1b7f46ec5c4dd932db73.jpg",[],{"id":9027,"slug":9028,"title":3092,"dynasty":129,"author":4193,"museum":20,"description":6317,"tags":9029,"thumbUrl":9030,"material":120,"size":6322,"collection":120,"collections":9031,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},223193,"geng-zhi-tu-ce-jiao-bing-zhen-223193",[29,28,56,57,7,35,156,5063,834,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca084f29b8dd14d8d72bab984dcd4762.jpg",[],{"id":9033,"slug":9034,"title":806,"dynasty":129,"author":732,"museum":87,"description":1686,"tags":9035,"thumbUrl":9036,"material":231,"size":1690,"collection":120,"collections":9037,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},219841,"shan-shui-tu-ce-6-xie-sun-219841",[24,25,381,28,30,94,116,35,7,37,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabec3aa886306dbb692fec513e8e16ad.jpg",[],{"id":9039,"slug":9040,"title":5934,"dynasty":85,"author":8013,"museum":446,"description":9041,"tags":9042,"thumbUrl":9043,"material":98,"size":9044,"collection":120,"collections":9045,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},219674,"fang-gu-shan-shui-ce-4-yun-xiang-219674","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。”",[24,25,381,90,30,93,35,7,60,170,94,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e5adb8e80d3a9a9a890725096adcec.jpg","26x15.2",[],{"id":9047,"slug":9048,"title":9049,"dynasty":85,"author":1402,"museum":689,"description":9050,"tags":9051,"thumbUrl":9053,"material":98,"size":9054,"collection":120,"collections":9055,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},217876,"zhou-li-yuan-shang-kuan-shen-ce-san-hu-yu-kun-217876","周栎园上款什册(三)","画面分左右两帧，右帧绘山水清境：林木错落间隐现茅舍，远山含烟，近水漾波，墨色淡雅却藏生机；左帧以行书题跋，笔势流畅，文字与画意相契，尽显文人雅趣。整幅作品诗画一体，意境清幽，笔墨简淡却韵味悠长，于疏朗间见细腻，传递出古代文人对自然与生活的诗意观照，尽显雅致脱俗的审美意趣。",[24,25,1229,90,28,96,94,472,30,35,4598,7,59,60,9052],"笔墨写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a87ed8dc6c04dc387d956147aeb76ea.jpg","24.7x32.3cm",[],{"id":9057,"slug":9058,"title":9059,"dynasty":129,"author":1258,"museum":226,"description":5287,"tags":9060,"thumbUrl":9061,"material":98,"size":120,"collection":120,"collections":9062,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},215019,"fang-gu-shan-shui-ce-11-wang-jian-215019","仿古山水册-11",[24,154,25,381,90,28,94,30,113,114,93,7,3120,255,60,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6429a86e8e01bea1e64db6649a6a5136.jpg",[],{"id":9064,"slug":9065,"title":9066,"dynasty":129,"author":1258,"museum":226,"description":5287,"tags":9067,"thumbUrl":9068,"material":98,"size":120,"collection":120,"collections":9069,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":104},215012,"fang-gu-shan-shui-ce-17-wang-jian-215012","仿古山水册-17",[23,24,27,28,94,381,30,93,35,60,59,7,134,500,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1f2b5608e75f73c8e5cce67ae9717b.jpg",[],{"id":9071,"slug":9072,"title":3864,"dynasty":129,"author":3865,"museum":212,"description":3875,"tags":9073,"thumbUrl":9074,"material":678,"size":679,"collection":120,"collections":9075,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},239532,"fang-gu-ji-you-tu-ce-huang-yi-239532",[24,25,381,90,94,96,30,93,35,7,138,1041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38695c0715b5041c8c7d497a1e615ecd.jpg",[],{"id":9077,"slug":9078,"title":3749,"dynasty":129,"author":3750,"museum":212,"description":9079,"tags":9080,"thumbUrl":9081,"material":120,"size":120,"collection":120,"collections":9082,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[24,25,198,28,94,832,30,59,60,35,229,7,1272,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31d7174efa971295b9e6bc389b44049.jpg",[],{"id":9084,"slug":9085,"tit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明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,90,94,381,30,59,35,7,57,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1dc8704ccc0fa573a13f8df1a26694.jpg",[],{"id":9198,"slug":9199,"title":9200,"dynasty":85,"author":390,"museum":212,"description":9201,"tags":9202,"thumbUrl":9203,"material":678,"size":679,"collection":120,"collections":9204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},237546,"shi-dao-shan-shui-shan-ye-yi-ming-237546","适道山水扇页","泥金底色温润古雅，晕开淡墨山水的清逸意趣。画面以高远起势，左侧峰崖崚嶒，皴笔苍劲利落，勾勒山石的硬朗肌理；右侧浅峦迤逦铺展，水岸平阔，漾出平远之境。近景虬木错落、枝桠疏朗，掩映着茅亭村舍，田畴横陈，将郊野幽居的闲适日常铺陈开来。淡墨轻施、设色简淡，萧散的文人意趣盈满尺幅之间，题款小字清雅安和，与画面浑然相融，把林泉高致藏于盈握扇面，尽显古雅悠然的山水情怀。",[1467,24,30,94,90,28,215,199,7,648,134,1873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c5841dc93a7b567b976371d8e6ad907.jpg",[],{"id":9206,"slug":9207,"title":9208,"dynasty":129,"author":828,"museum":212,"description":7565,"tags":9209,"thumbUrl":9210,"material":678,"size":679,"collection":120,"collections":9211,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},237534,"fang-shan-qiao-yan-ju-shan-wang-hui-237534","仿山樵岩居扇",[1467,24,30,94,28,35,7,91,170,59,60,93,113,2610,765,566,1850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96b2ed25eb13c72ff22e242312452c49.jpg",[],{"id":9213,"slug":9214,"title":377,"dynasty":129,"author":9215,"museum":212,"description":9216,"tags":9217,"thumbUrl":9218,"material":678,"size":679,"collection":120,"collections":9219,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},237397,"shan-shui-tu-ce-xue-xuan-237397","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。",[24,90,94,381,30,35,93,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca5706c45c5a82dc16d8c01541e0cb50.jpg",[],{"id":9221,"slug":9222,"title":9223,"dynasty":129,"author":828,"museum":266,"description":9224,"tags":9225,"thumbUrl":9226,"material":370,"size":120,"collection":120,"collections":9227,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},237383,"shan-shui-ce-song-jun-ye-fang-da-chi-shan-shui-ye-wang-hui-237383","山水册-宋骏业仿大痴山水页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,381,90,30,94,133,35,7,93,135,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb1c965398a2ee9f3b80e7e2f75d7c3.jpg",[],{"id":9229,"slug":9230,"title":9231,"dynasty":129,"author":9232,"museum":212,"description":9233,"tags":9234,"thumbUrl":9235,"material":370,"size":120,"collection":120,"collections":9236,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},237065,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237065","补景古臣松梅观鹤图像并附山水册","徐佐","此作以淡墨皴擦山石，层峦清润悠远，几株古松虬劲挺拔，松针攒簇间尽显苍然古意。林麓间村居隐现，茅舍错落，晕染出幽寂平和的山居之境。左侧题诗与画作相映，诗书画印浑然一体，尽显文人雅趣。整体构图虚实相生，笔致秀雅内敛，将林下隐逸的栖居意趣融于尺幅之间，静穆雅致晕染出清代文人山水特有的淡远审美，藏着文人心中幽居林泉的理想图景。",[24,25,381,28,30,94,255,215,93,7,35,134,170,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0b758499f628aec8605fa563b12c73.jpg",[],{"id":9238,"slug":9239,"title":6161,"dynasty":85,"author":9240,"museum":212,"description":9241,"tags":9242,"thumbUrl":9243,"material":678,"size":679,"collection":120,"collections":9244,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":48},236705,"shan-shui-shan-zuo-zhen-236705","左桢","左桢（1854--1937），男，字绍臣，别号江南大隐，江苏高邮人。著有《甓湖草堂笔记》、《甓湖楹帖》、《金石录》。",[1467,24,90,30,35,7,134,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49801e20c40c3e0054448041d0c4122a.jpg",[],{"id":9246,"slug":9247,"title":6161,"dynasty":85,"author":9248,"museum":212,"description":9249,"tags":9250,"thumbUrl":9251,"material":678,"size":679,"collection":120,"collections":9252,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":48},236703,"shan-shui-shan-lin-fan-236703","林凡","以干笔淡墨绘就秋山幽居，近岸板桥横陈，策杖行人缓步徐行，篱舍错落隐于林间。远山层叠晕染，主峰以短皴攒簇，勾勒苍厚肌理，金笺底色晕开疏淡墨色，衬出空寂秋意。\n此作以尺幅铺展咫尺千里之境，笔墨简淡清逸，以简驭繁，将林泉高致藏于方寸扇面。萧散野趣漫溢其间，尽显文人画的幽寂襟怀，观之如临深秋日暮的山居，静赏山光林影，遥想丘壑间的隐逸闲情。",[1467,24,90,94,30,93,35,7,59,57,134,1873,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7600b1b6f1911a4652e5bdd3c55f1145.jpg",[],{"id":9254,"slug":9255,"title":1037,"dynasty":129,"author":6985,"museum":212,"description":9256,"tags":9257,"t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[清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,25,381,90,94,133,30,199,93,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464be8651cd0ec1acb0b55a1fd207282.jpg",[],{"id":9284,"slug":9285,"title":9286,"dynasty":129,"author":390,"museum":212,"description":9287,"tags":9288,"thumbUrl":9289,"material":120,"size":120,"collection":120,"collections":9290,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},235980,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235980","半山山水人物册","此作以虚实相生的笔墨绘就山林幽境，主峰以枯涩浓墨勾皴，写尽崖石嶙峋苍劲的质感。数道飞瀑借留白衬出灵动，掩映崖间为冷寂山景添了鲜活生机。\n下方以浓墨点染苍松，错落茅舍隐于林木间，寥寥数笔便勾勒出幽居野逸之趣。淡墨晕染出空濛山岚，将山野清寂冷逸尽数铺陈。整体简淡疏朗，以留白营造出悠远禅意，尽显文人山水小品的雅逸之致，藏着寄情林泉的幽居意趣。",[24,90,94,30,93,229,35,7,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a4d76ab334058b03a3d817ec7b2b7ae.jpg",[],{"id":9292,"slug":9293,"title":1037,"dynasty":129,"author":9294,"museum":212,"description":9295,"tags":9296,"thumbUrl":9297,"material":120,"size":120,"collection":120,"collections":9298,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},235178,"shan-shui-ce-ye-xin-235178","叶欣","此作用色浅淡明净，以简淡笔触铺陈江南水乡冬日图景。水网缠绕村舍，水磨轮转，晕开细碎烟火暖意，平畴远渚以淡墨轻染，留白晕出空濛水汽，将天地融作一片清寂。枯木斜枝缀着一点丹红，破开萧寒，暗透出鲜活生机。全画无繁复皴擦，以淡彩晕染出空寂悠远的氛围，日常村居景致被晕染出清隽诗意，将水乡冬日的慵懒闲静缓缓铺展，尽显雅致清和的文人意趣，淡而有味，余韵绵长。",[24,381,28,90,30,7,35,134,675,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818b3c03d6037bab871248d67e1878cb.jpg",[],{"id":9300,"slug":9301,"title":1037,"dynasty":85,"author":2390,"museum":212,"description":9302,"tags":9303,"thumbUrl":9304,"material":120,"size":120,"collection":120,"collections":9305,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":48},235149,"shan-shui-ce-li-liu-fang-235149","此作以元人笔意为宗，淡墨晕染远山，枯笔轻擦出山峦肌理，空灵淡远，尽显简淡萧散的古意。近岸林木错落舒展，茅舍隐于林泽汀洲之间，留白代水，晕染出空濛的江南水岸意趣。\n\n笔墨干湿互用，墨色柔缓过渡层次分明，带着文人画的书卷清气，将幽居山水间的静谧诗意缓缓铺陈，仿若可见林下幽人与烟霞相伴的隐逸日常，尽显晚明文人山水画的抒情特质，藏着平淡天真的林下襟怀。",[24,90,30,94,381,215,269,199,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4ae7ce33de72aca2dd40054d3c1555c.jpg",[],{"id":9307,"slug":9308,"title":9309,"dynasty":129,"author":9310,"museum":20,"description":9311,"tags":9312,"thumbUrl":9313,"material":118,"size":9314,"collection":120,"collections":9315,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},234972,"shu-shui-tu-yu-shi-ling-234972","菽水图","余世苓","余世苓（1756－1839年左右），字松田，号藕时，浙江诸暨高湖沿人。家境贫寒，曾先后在安徽、江苏及直隶等地任微职，以孝行闻名。\n由图上余世苓墨题而知他与华冠有着深厚的友谊，此图是他36岁时华冠为他所绘。作为肖像画，华冠没有将像主画成正襟危坐的标准像样式，而是将像主置身于日常生活的环境中，绘他在冰天雪地的户外身穿单衣、足着草履、肩扛手提菽水急行赶路的情景。菽水原指豆子和水，意为粗茶淡饭，后引申为晚辈对长辈的供养。图中远山、近水及坡地运用“有限中出无限，无画处成妙境”的表现技法，以不露笔痕的淡墨轻渍，令画作荒寒之气顿生，不仅准确地表现出寒冬恶劣的气候环境，而且暗示出像主在艰苦的生活条件下尽心孝敬父母的高逸人品。人物面部先以淡色晕染，后以重墨点画眉眼，将像主充满睿智的神态表现得惟妙惟肖，显示出作者较强的人像写真功底。",[24,28,29,90,57,59,60,114,7,255,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff292854e2c62c4e9b033ed10c46110c8.jpg","纵90.2厘米，横49.1厘米",[],{"id":9317,"slug":9318,"title":9319,"dynasty":129,"author":9320,"museum":212,"description":9321,"tags":9322,"thumbUrl":9323,"material":120,"size":120,"collection":120,"collections":9324,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},234605,"qiu-shan-tu-wan-shan-hu-yi-zan-234605","秋山图纨扇","胡义赞","字叔襄，号石槎（一作石查），晚号烟视翁，光山（今河南光山）人，官海宁知州。长金石考证之学，所藏泉币皆希品，考证精确，与鲍臆园（康）抗衡。行楷、山水皆学董其昌，清润淹雅，不仅貌似，题识亦佳。刻印宗秦、汉，收藏书、画、金石甚富。光绪二十三年（1897）年六十七，尚作山水卷。",[24,1467,90,28,30,94,486,35,93,7,138,134,473,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48608369a82e616c313ba75102a0e69.jpg",[],{"id":9326,"slug":9327,"title":7018,"dynasty":129,"author":9328,"museum":212,"description":9329,"tags":9330,"thumbUrl":9331,"material":120,"size":120,"collection":120,"collections":9332,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},234601,"shan-shui-wan-shan-wang-ting-ru-234601","汪廷儒","汪廷儒（1804-1852）字醇卿，又字莼青，江苏仪征人。道光二十四年（1844）翰林官编修，二十六年（1846）江西副主考。、山水，极得董其昌用笔、用墨之妙，皴减而有法。墨晕黠宕，尤长画册、扇。用笔沉着苍润，亦极似查士标。辑广陵思古内、外编，书未成而卒，年四十九。",[154,24,25,1467,90,94,30,59,60,7,35,93,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b39f06e94c59a8b0568722bcc63ca0.jpg",[],{"id":9334,"slug":9335,"title":9336,"dynasty":129,"author":3284,"museum":212,"description":9337,"tags":9338,"thumbUrl":9339,"material":120,"size":120,"collection":120,"collections":9340,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},234488,"zhang-zong-cang-shan-shui-shan-zhang-zong-cang-234488","张宗苍山水扇","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[24,25,1467,30,90,94,93,35,765,7,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4de2c8cd77fb71aafb12dc46de73bdbe.jpg",[],{"id":9342,"slug":9343,"title":2442,"dynasty":129,"author":7352,"museum":212,"description":7353,"tags":9344,"thumbUrl":9345,"material":120,"size":120,"collection":120,"collections":9346,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},234482,"shan-shui-ce-ye-wu-ji-shan-234482",[24,90,94,381,30,215,269,199,7,229,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034cfd87efdd9e44e6e9b42529d07c9d.jpg",[],{"id":9348,"slug":9349,"title":9350,"dynasty":129,"author":3865,"museum":20,"description":9351,"tags":9352,"thumbUrl":9353,"material":4206,"size":9354,"collection":120,"collections":9355,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[23,24,25,26,90,28,96,170,30,57,35,116,59,60,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纵26.7cm，横90.1cm",[],{"id":9357,"slug":9358,"title":1037,"dynasty":129,"author":582,"museum":20,"description":1816,"tags":9359,"thumbUrl":9360,"material":243,"size":1820,"collection":120,"collections":9361,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},233976,"shan-shui-ce-gong-xian-233976",[24,25,90,1818,30,7,35,37,5062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca84608863d51f18f4b6370d44538c6.jpg",[],{"id":9363,"slug":9364,"title":9365,"dynasty":129,"author":3865,"museum":20,"description":9366,"tags":9367,"thumbUrl":9368,"material":118,"size":9369,"collection":120,"collections":9370,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},233938,"dai-lu-fang-bei-tu-ce-huang-yi-233938","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,25,90,30,58,35,93,138,7,94,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fcd11940f5f434f63509626b6753f0.jpg","纵17.4厘米，横50.8厘米",[],{"id":9372,"slug":9373,"title":9374,"dynasty":129,"author":167,"museum":20,"description":9375,"tags":9376,"thumbUrl":9377,"material":6224,"size":9378,"collection":120,"collections":9379,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":104},233164,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233164","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,25,381,90,30,94,31,37,35,7,93,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a094f728ed5c0a0d0fe30bf0a96562c.jpg","纵29厘米，横29.5厘米",[],{"id":9381,"slug":9382,"title":9383,"dynasty":129,"author":9384,"museum":212,"description":9385,"tags":9386,"thumbUrl":9387,"material":120,"size":120,"collection":120,"collections":9388,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":48},230252,"hu-shan-sheng-jing-tu-wan-shang-lin-230252","湖山胜境图","万上遴","以大青绿设色晕染湖山，远景层峦迤逦，青碧山峦如翡翠层叠舒展，林树错落点染岸渚，晕开清寂悠远的山野意趣。\n中幅湖面空蒙开阔，数帆缓行、舟楫往来，为静穆烟波晕开灵动生气。近岸山居枕水而建，花树环拥亭台，青绿皴染的坡岸雅致温润；下方城楼依水伫立，牵起市井烟火与丘林幽秀的相融之境。\n古雅厚重的赭石底色晕开沉朴古韵，青绿石色提亮山水层次，将庙堂规整与林泉幽秀揉合，尽展江南湖山的安和清宁，是兼具写实意趣与文人雅韵的青绿佳构。",[23,24,25,27,28,30,58,92,91,34,35,134,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7d75c51828938af5b421c7b261fab1.jpg",[],{"id":9390,"slug":9391,"title":9392,"dynasty":129,"author":390,"museum":212,"description":9393,"tags":9394,"thumbUrl":9398,"material":678,"size":679,"collection":120,"collections":9399,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":48},229578,"tong-tai-hua-fa-lang-xi-yang-ren-wu-guan-yin-ping-1-yi-ming-229578","铜胎画珐瑯西洋人物观音瓶-1","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[1230,9395,9396,5626,9397,675,1743,35,7,394],"铜胎","画珐琅","西洋人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F670d228ea343cdfe0d843ccace0bd3ec.jpg",[],{"id":9401,"slug":9402,"title":9403,"dynasty":129,"author":390,"museum":212,"description":9404,"tags":9405,"thumbUrl":9408,"material":678,"size":679,"collection":120,"collections":9409,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":48},229062,"qian-long-ci-tai-yang-cai-xi-yang-ren-wu-shan-shui-huo-lian-he-yi-ming-229062","乾隆 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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[9525,6700,1505,9526,30,9527,7,35],"漆器","描金","芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc296e811d0c0653f2cedf1bd9dbb7a91.jpg",[],{"id":9531,"slug":9532,"title":9533,"dynasty":901,"author":390,"museum":212,"description":9534,"tags":9535,"thumbUrl":9537,"material":678,"size":679,"collection":120,"collections":9538,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":338},269991,"xiang-ya-diao-shan-shui-tu-yuan-cha-ping-yi-ming-269991","象牙雕山水图圆插屏","以刀为笔，将江南雅居凝于方寸牙面。水岸茅庐安然静立，蕉叶垂落添幽趣，堂内人影隐约似在闲话家常，石畔二人临水流连，恍若正赏玩波光。皴刻的苍劲奇石、清疏林木排布疏密得当，浅淡墨色晕出远近层次，把文人隐逸的林下闲趣铺陈开来。\n\n它融文人画的写意意境与牙雕精工于一体，虽尺幅极小，却将山居日常的恬然氛围尽数藏纳，见之便如踏入江南一隅静地，偷得浮生半日闲，尽显微雕工艺的动人魅力。",[9536,8744,30,394,7,93,57,35],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff592bb7ef91b5b96f8fd87aeba6a2c2c.jpg",[],{"id":9540,"slug":9541,"title":3864,"dynasty":129,"author":3865,"museum":212,"description":9542,"tags":9543,"thumbUrl":9544,"material":120,"size":120,"collection":120,"collections":9545,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},239533,"fang-gu-ji-you-tu-ce-huang-yi-239533","画面左右疏密相生，左侧题跋笔墨朴拙舒展，行书苍劲清逸，与右侧山水浑然相融。干笔淡墨晕出山峦秋意，屋舍错落隐于枯木疏枝之间，简括写意，留白空灵幽寂。\n\n整体以书入画，笔致简劲清脱，将寻古幽怀寄寓淡墨轻岚之中，尽显文人雅淡意趣。萧索淡远的山居小景，与长篇题咏相映成趣，诗画合璧，笔简而意足，漫溢出静穆古雅的林下之风。",[24,25,381,90,28,30,92,7,35,93,170,95,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703d15fabc404980d71f616584a315.jpg",[],{"id":9547,"slug":9548,"title":9549,"dynasty":129,"author":2682,"museum":212,"description":9550,"tags":9551,"thumbUrl":9552,"material":120,"size":120,"collection":120,"collections":9553,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},239382,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239382","画载月十咏诗意册","此作用浅绛绘就秋日林居之景，近处村舍错落，篱墙萦回，丹枫杂树点染出秋意暖色，村居意趣悠然。中景烟水空濛，淡墨晕开渺渺水汽，洲渚间霜林疏朗，留白铺就开阔平远的意境。远景峰峦舒缓延绵，左侧孤峰拔地而起，奇崛醒目，为淡远山水添了几分峭拔。\n\n笔墨秀雅松灵，以干笔皴擦出山石肌理，淡赭、花青轻敷晕染，色调清润柔和。右上角题诗衬景，诗画交融，将载月归游的诗意融于萧淡秋光里，整体气息安闲淡远，褪去尘嚣烟火，尽显文人画雅致静穆的林泉意韵。",[24,25,381,28,94,30,116,92,7,35,134,37,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec62eee0d9bbb718c9e92e17c565eca.jpg",[],{"id":9555,"slug":9556,"title":1037,"dynasty":129,"author":9086,"museum":212,"description":9557,"tags":9558,"thumbUrl":9559,"material":120,"size":120,"collection":120,"collections":9560,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},239348,"shan-shui-ce-lin-fu-chang-239348","这幅小品以留白摹写流云雾气，将层叠山峦衬得灵动缥缈，山居藏于松石崖壁间，似隐似现。近坡林木错落苍润，屋舍依傍溪岸野林，尽显幽居闲寂之态。设色清淡雅致，以青绿轻晕山石，浓墨点染苍松古木，笔致简逸秀雅，带着文人画特有的萧散意趣，将山林间悠然避世的栖居诗意尽数铺展，处处透着林下幽居的静谧闲适，淡而有味，简中见雅。",[24,25,381,90,28,30,255,93,37,7,35,31,38,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb01ddef5faace5b120a79ec8e46e5.jpg",[],{"id":9562,"slug":9563,"title":9564,"dynasty":85,"author":9565,"museum":212,"description":9566,"tags":9567,"thumbUrl":9568,"material":678,"size":679,"collection":120,"collections":9569,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},239264,"shu-hua-tu-ce-cheng-min-239264","书画图册","程敏","此作以平远章法铺陈江渚丘林，上方丘峦疏树之间孤舍独伫，风杆轻立，远渚横陈，留白尽现江天寥廓空寂；下方茂林围篱，水岸逶迤，林麓错落生趣。\n笔墨简淡清润，以中锋勾勒皴擦，不作繁复晕染，尽显萧散冷逸的江乡幽居意趣，将文人林泉高致的隐逸襟怀融于寥寥笔意之间，淡而弥远，清寂悠然。",[24,25,90,381,30,35,91,7,835,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6de6ff4104d8aec03ee6c1dda699e8f.jpg",[],{"id":9571,"slug":9572,"title":9573,"dynasty":129,"author":3284,"museum":212,"description":9574,"tags":9575,"thumbUrl":9576,"material":678,"size":679,"collection":120,"collections":9577,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},239130,"shan-shui-he-hui-ce-zhang-zong-cang-239130","山水合绘册","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,25,381,90,94,30,215,199,7,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d5b33731f86301ee63d106dee88a3c.jpg",[],{"id":9579,"slug":9580,"title":1037,"dynasty":129,"author":3703,"museum":212,"description":6384,"tags":9581,"thumbUrl":9582,"material":120,"size":120,"collection":120,"collections":9583,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},238990,"shan-shui-ce-yang-jin-238990",[24,90,94,381,30,215,269,91,35,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b30ca62fb56b0c204076deceecb4e2.jpg",[],{"id":9585,"slug":9586,"title":6161,"dynasty":85,"author":9587,"museum":212,"description":9588,"tags":9589,"thumbUrl":9590,"material":678,"size":679,"collection":120,"collections":9591,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":48},238937,"shan-shui-shan-zhang-feng-yi-238937","张凤仪","张凤仪( 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志》、《画史会要》、《画引》、《图绘宝鉴续纂》。",[154,24,1467,90,94,595,93,35,32,91,675,1271,7,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447c29366242748e0e11797c6dfc6190.jpg",[],{"id":9792,"slug":9793,"title":9794,"dynasty":85,"author":390,"museum":212,"description":9795,"tags":9796,"thumbUrl":9797,"material":678,"size":679,"collection":120,"collections":9798,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":48},237788,"wen-shi-shan-shui-shan-ye-yi-ming-237788","文石山水扇页","此作为典型吴门意趣文人山水，以扇面咫尺形制铺展丘壑。近林木蓊郁苍润，点叶错落灵动，茅庐隐于树石隐处，暗合幽居野逸之致。水墨皴擦写就山石肌理，浓淡墨色晕染出草木层叠，留白虚处暗引溪径通连远山，萧散空寂间尽显林下雅致。右上角题款极简融于画面，暗寄文人寄情林泉、归心丘园的隐逸心绪。虽无署名，却深得明季山水画简淡清和的神韵，将山野闲居的幽寂之美凝于盈握之间，以小品见大境，尽显文人山水的空逸意趣。",[24,25,1467,90,94,30,215,1040,199,7,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102baf5086a7eb075c2298524451c22b.jpg",[],{"id":9800,"slug":9801,"title":9802,"dynasty":129,"author":9803,"museum":212,"description":9804,"tags":9805,"thumbUrl":9806,"material":678,"size":679,"collection":120,"collections":9807,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},237786,"fang-wang-meng-shan-shui-shan-ye-ding-peng-237786","仿王蒙山水扇页","丁澎","丁澎（1622～1686），字飞涛，号药园，仁和（今浙江省杭州市）人，清初著名回族诗人。\n其祖父丁鹤年是明朝（1368～1644）著名诗人。与同乡吴百朋、陆圻、紫绍炳、陈廷会、孙治、沈谦、毛先舒、虞黄吴、张纲孙合称为“西岸十子”、“西泠十子”。",[24,25,1467,90,94,133,30,215,199,255,270,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b4931fc1cd0b981c441ad2c0ae886d.jpg",[],{"id":9809,"slug":9810,"title":1411,"dynasty":129,"author":828,"museum":212,"description":7565,"tags":9811,"thumbUrl":9812,"material":678,"size":679,"collection":120,"collections":9813,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},237600,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237600",[24,25,381,90,94,30,93,35,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557ddbcbf6c85d8182f8187469751f80.jpg",[],{"id":9815,"slug":9816,"title":1037,"dynasty":129,"author":8103,"museum":212,"description":8104,"tags":9817,"thumbUrl":9818,"material":678,"size":679,"collection":120,"collections":9819,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":48},237522,"shan-shui-ce-chen-zi-237522",[24,25,154,381,28,96,30,215,199,7,37,4141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc2d8d9a7d3a1eeb8fc1c642e189f60.jpg",[],{"id":9821,"slug":9822,"title":1037,"dynasty":129,"author":1925,"museum":212,"description":9823,"tags":9824,"thumbUrl":9825,"material":120,"size":120,"collection":120,"collections":9826,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},237103,"shan-shui-ce-cha-shi-biao-237103","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,25,90,94,381,30,215,199,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8b3b72d22514f39491091846f74162.jpg",[],{"id":9828,"slug":9829,"title":7505,"dynasty":129,"author":7506,"museum":212,"description":7507,"tags":9830,"thumbUrl":9831,"material":120,"size":120,"collection":120,"collections":9832,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},236513,"sun-shan-shui-ce-wang-ji-236513",[24,90,94,381,30,229,35,7,59,134,892,3325,135,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc410be49906f71475b7f2831a4d22d.jpg",[],{"id":9834,"slug":9835,"title":377,"dynasty":129,"author":8900,"museum":212,"description":8901,"tags":9836,"thumbUrl":9837,"material":678,"size":679,"collection":120,"collections":9838,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},235896,"shan-shui-tu-ce-guan-quan-235896",[24,90,30,93,35,138,7,95,381,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06686bc1fe54e50be518ca5ded5b36ba.jpg",[],{"id":9840,"slug":9841,"title":1037,"dynasty":85,"author":2390,"museum":212,"description":9842,"tags":9843,"thumbUrl":9844,"material":120,"size":120,"collection":120,"collections":9845,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},235821,"shan-shui-ce-li-liu-fang-235821","此帧以淡墨晕染汀洲远山，笔致松秀简淡，坡岸间几株杂木高低错落，枝叶以湿墨点簇，苍润朴拙。侧旁茅篱草堂隐于林下，野水空蒙，尽显幽寂淡远的林下逸趣。\n\n作者取法云林清寂之境，却变倪氏干淡折带皴为湿笔出之，褪去尖峭冷寂，添了温润苍厚的意趣，自出机杼。题诗与画作相映，诗画合璧，尽显文人画萧散简远的雅逸格调，将江南水畔的静穆闲淡融于毫端，尽显幽人逸士的林下襟怀。",[24,25,381,90,30,199,7,93,94,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534a881cab26c9eedb6f057eb8109fd.jpg",[],{"id":9847,"slug":9848,"title":1037,"dynasty":85,"author":2390,"museum":212,"description":9849,"tags":9850,"thumbUrl":9851,"material":120,"size":120,"collection":120,"collections":9852,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},235819,"shan-shui-ce-li-liu-fang-235819","此作笔墨简淡松秀，取景萧疏清旷。近岸林木参差，枯荣交织，晕染出浅秋澄澈况味。山坳村居、山寺错落藏于崖岫林麓之间，野意盎然。远景山峦以淡墨轻施晕染，留白牵引出幽远空寂之意韵。\n题识点明创作旨趣，师法倪、黄，皴染相融、勾勒劲健，以简淡笔墨写出山川静穆深秀之致，尽显文人画萧散逸气，观之如临林泉，俗虑尽涤。",[24,25,381,90,94,30,35,93,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8bbd37a6e5c1fe4d64f0293d7ab973.jpg",[],{"id":9854,"slug":9855,"title":1037,"dynasty":129,"author":8167,"museum":212,"description":9856,"tags":9857,"thumbUrl":9858,"material":120,"size":120,"collection":120,"collections":9859,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},235332,"shan-shui-ce-wen-dian-235332","此作用淡墨白描写就秋郊闲居之景。高木扶苏葱郁，清简茅舍半掩，野径间有人徐行低语，远山轻晕出空濛秋意，萧疏淡远。笔致松灵简淡，全无浓丽设色，仅以素墨勾勒渲染，将秋日郊野的清寂恬和尽数铺展。右上角题诗与画面相映，文气雅致，尽显江南文人画独有的疏朗清雅，把寻常闲居小景晕染成诗意栖居之境，带着萧散冷逸的林下幽趣，将文人寄情山水的恬然心境藏于极简笔墨中。",[24,25,381,305,90,30,35,7,57,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a5c64303e7c24d5b726686b12afb11.jpg",[],{"id":9861,"slug":9862,"title":1037,"dynasty":85,"author":2390,"museum":212,"description":9863,"tags":9864,"thumbUrl":9865,"material":120,"size":120,"collection":120,"collections":9866,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":48},235150,"shan-shui-ce-li-liu-fang-235150","此作用笔追摹米家云山意趣，以水墨晕染绘就烟岚山色。远山以淡墨轻扫出形，复以浓墨晕积暗部，墨色层次交融，晕出江南山峦的空濛烟雨之态，不见斧凿之痕，尽显苍润氤氲。近处长汀横陈，杂树以焦墨点簇而成，笔致朴拙苍劲，几间村居简笔勾勒，隐于林樾之间，野逸萧疏。整幅画作以平远之景铺陈开去，简淡清远，将幽怀寄寓于丘壑之间，师法古人却自抒性灵，静穆淡远中尽显文人画的简雅逸趣，是寄情山水、以画明心的精妙之作。",[154,24,25,381,90,94,30,35,7,134,892,93,2175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581572072c0d17b417f3a9ff01ca28d0.jpg",[],{"id":9868,"slug":9869,"title":9870,"dynasty":129,"author":9871,"museum":20,"description":9872,"tags":9873,"thumbUrl":9874,"material":118,"size":120,"collection":120,"collections":9875,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},234740,"huang-shan-tu-ce-jiang-zhu-234740","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,381,90,95,96,30,556,215,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0784c595e270eb7061be53568d00ae2.jpg",[],{"id":9877,"slug":9878,"title":9879,"dynasty":129,"author":9880,"museum":20,"description":9881,"tags":9882,"thumbUrl":9883,"material":118,"size":9884,"collection":120,"collections":9885,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},234499,"bai-ying-lou-tu-ce-ye-shi-er-zhi-234499","拜影楼图册页","史尔祉","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[24,25,381,90,30,215,199,7,37,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F606478c7dda13ae2089d32b26200ba31.jpg","纵19.5厘米 横16.0厘米",[],{"id":9887,"slug":9888,"title":6793,"dynasty":129,"author":4535,"museum":212,"description":9889,"tags":9890,"thumbUrl":9891,"material":120,"size":120,"collection":120,"collections":9892,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},234487,"shan-shui-shan-ye-qi-zhi-jia-234487","祁豸佳（1594-1683），字止群，号雪瓢，山阴（今浙江绍兴）人。彪佳弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董玚、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。书学董其昌，而乏其秀韵。山水宗董源、惠崇、沈周等，善仿诸家山水，尤爱用巨然法，气势淋漓，笔力挺拔。间作花卉，亦多逸致，诗文词皆有致，至于歌、弈、图章，百戏俱善。",[24,25,1467,30,90,94,215,199,7,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8457ee10726267d3b4cba5be0ae9fae4.jpg",[],{"id":9894,"slug":9895,"title":1037,"dynasty":129,"author":1436,"museum":212,"description":9896,"tags":9897,"thumbUrl":9898,"material":120,"size":120,"collection":120,"collections":9899,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},234343,"shan-shui-ce-jin-ting-biao-234343","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,90,28,30,35,7,37,94,95,170,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf0e6fd5134ff670995f1039c11086b.jpg",[],{"id":9901,"slug":9902,"title":9903,"dynasty":18,"author":390,"museum":20,"description":9904,"tags":9905,"thumbUrl":9907,"material":356,"size":9908,"collection":120,"collections":9909,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},234024,"liu-tang-du-shu-tu-ye-yi-ming-234024","柳堂读书图页","画湖岸风光，院落间散落着小屋和房屋，四周苍松翠柳环绕。 书生专心在室内学习，孩子们在户外陪伴。 栅栏坡度平缓，碎石散落，草丛稀疏。 对岸，丛林幽幽，溪水蜿蜒。 作者构图细腻、浓密、准确，笔法细腻，工笔结合，意境幽远，耐人寻味，是一幅南宋工笔画。",[154,24,25,1229,29,28,94,30,5463,9906,35,255,723,135,8647,7],"堂屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481b25a3679ee33cbd86de2c03f2959.jpg","22.5x24.4厘米",[],{"id":9911,"slug":9912,"title":9365,"dynasty":129,"author":3865,"museum":20,"description":9366,"tags":9913,"thumbUrl":9915,"material":118,"size":9369,"collection":120,"collections":9916,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},233933,"dai-lu-fang-bei-tu-ce-huang-yi-233933",[24,25,381,90,94,30,35,7,294,9914,93,138],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4e3f0aa3359e1aff75a0307266c907.jpg",[],{"id":9918,"slug":9919,"title":9365,"dynasty":129,"author":3865,"museum":20,"description":9366,"tags":9920,"thumbUrl":9921,"material":118,"size":9369,"collection":120,"collections":9922,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},233930,"dai-lu-fang-bei-tu-ce-huang-yi-233930",[24,25,381,90,28,305,199,7,57,95,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0978ddaa473830209794d2453e5c0d4b.jpg",[],{"id":9924,"slug":9925,"title":9365,"dynasty":129,"author":3865,"museum":20,"description":9366,"tags":9926,"thumbUrl":9927,"material":118,"size":9369,"collection":120,"collections":9928,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},233928,"dai-lu-fang-bei-tu-ce-huang-yi-233928",[24,25,90,305,94,30,93,35,7,9914,95,170,129,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114e8845980da2fa1c36289c017f21d8.jpg",[],{"id":9930,"slug":9931,"title":9365,"dynasty":129,"author":3865,"museum":20,"description":9366,"tags":9932,"thumbUrl":9933,"material":118,"size":9369,"collection":120,"collections":9934,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},233919,"dai-lu-fang-bei-tu-ce-huang-yi-233919",[24,25,381,90,94,30,199,7,92,57,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd63e48803653cf8ce3794c4e792854a.jpg",[],{"id":9936,"slug":9937,"title":9938,"dynasty":668,"author":9939,"museum":212,"description":9940,"tags":9941,"thumbUrl":9950,"material":678,"size":679,"collection":120,"collections":9951,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":338},232287,"a-er-ma-14-lao-lun-si-a-er-ma-ta-de-ma-232287","阿尔玛14","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[154,672,9942,57,351,7,5227,9943,9944,9945,9946,9947,5237,9948,9949],"写实主义","藤蔓","盆栽","水罐","碗","推车","头巾","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3521d3b0d4c155f13c3a86f3e1214d.jpg",[],{"id":9953,"slug":9954,"title":9955,"dynasty":668,"author":9956,"museum":212,"description":9957,"tags":9958,"thumbUrl":9962,"material":678,"size":679,"collection":120,"collections":9963,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},231731,"da-zheng-nian-xi-zhi-juan-jin-cun-zi-hong-231731","大正年 夕之卷","今村紫红","今村四光（Shiko 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）。",[23,3474,28,57,9959,92,35,7,9960,9961,3624],"大象","土丘","水池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3691c67ea1f3ab10fba325b2c3239f.jpg",[],{"id":9965,"slug":9966,"title":9967,"dynasty":668,"author":390,"museum":212,"description":9968,"tags":9969,"thumbUrl":9970,"material":678,"size":679,"collection":120,"collections":9971,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},225494,"fu-shi-hui-252-yi-ming-225494","浮世绘252","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[3474,28,57,60,134,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22907b6f373c66150665059641941f9f.jpg",[],{"id":9973,"slug":9974,"title":9975,"dynasty":668,"author":390,"museum":212,"description":9976,"tags":9977,"thumbUrl":9980,"material":120,"size":120,"collection":120,"collections":9981,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},225327,"fu-shi-hui-76-yi-ming-225327","浮世绘76","以俯视视角铺展水乡盛景，朱红桥柱托举弧形长桥，桥上行人摩肩接踵，尽显江户市井的鲜活烟火气。河道蜿蜒穿绕屋舍，町屋黛瓦错落排布晕开温婉底色。远景富士静立天际，覆雪山巅融于澄澈碧空，将悠然禅意揉入俗世日常。\n\n雅致清润的蓝调铺陈底色，朱红桥柱跳脱提亮画面，柔细线条勾勒出分明层次，将人间喧闹与山川静美相融，把江户水乡的风物日常凝为隽永的美学定格，尽显浮世绘描摹市井与自然共生的独特韵味。",[3474,3475,28,9978,32,134,7,35,57,5387,9007,9979],"大桥","圆形物体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11c7a86da0204df500daaffb008f8492.jpg",[],{"id":9983,"slug":9984,"title":9985,"dynasty":668,"author":390,"museum":212,"description":9986,"tags":9987,"thumbUrl":9988,"material":120,"size":120,"collection":120,"collections":9989,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":48},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。",[3474,28,3475,30,59,60,346,7,35,57,1283,32,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd158e996809e261a9f0f984c1658ae84.jpg",[],{"id":9991,"slug":9992,"title":9993,"dynasty":668,"author":390,"museum":212,"description":9968,"tags":9994,"thumbUrl":9997,"material":678,"size":679,"collection":120,"collections":9998,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},225322,"fu-shi-hui-66-yi-ming-225322","浮世绘66",[3474,3475,28,62,57,9995,294,9996,35,7,2126],"樱花","鸟居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28371018a8fdb9234424dfa386a0a.jpg",[],{"id":10000,"slug":10001,"title":3092,"dynasty":129,"author":4193,"museum":20,"description":6317,"tags":10002,"thumbUrl":10004,"material":120,"size":6322,"collection":120,"collections":10005,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},223219,"geng-zhi-tu-ce-jiao-bing-zhen-223219",[154,24,25,381,29,28,57,3097,1502,155,10003,2332,3098,6895,156,2175,7,8686,8250],"桑麻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621157e3c8c47823c84252dafac863e5.jpg",[],{"id":10007,"slug":10008,"title":3092,"dynasty":129,"author":4193,"museum":20,"description":6317,"tags":10009,"thumbUrl":10013,"material":120,"size":6322,"collection":120,"collections":10014,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},223214,"geng-zhi-tu-ce-jiao-bing-zhen-223214",[24,25,29,28,56,57,7,35,1627,10010,156,10011,1502,10012],"纺织工具","棕榈树","纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ec065cf78bf41aaaa49cfef9ca237f.jpg",[],{"id":10016,"slug":10017,"title":3092,"dynasty":129,"author":4193,"museum":20,"description":6317,"tags":10018,"thumbUrl":10019,"material":120,"size":6322,"collection":120,"collections":10020,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},223210,"geng-zhi-tu-ce-jiao-bing-zhen-223210",[154,24,25,381,29,28,56,57,156,7,35,1916,1939,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa350f8d098fb7712b35be69ebece04b8.jpg",[],{"id":10022,"slug":10023,"title":3092,"dynasty":129,"author":4193,"museum":20,"description":6317,"tags":10024,"thumbUrl":10026,"material":120,"size":6322,"collection":120,"collections":10027,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":104},223209,"geng-zhi-tu-ce-jiao-bing-zhen-223209",[154,24,25,1229,29,28,57,156,7,35,2430,1230,8686,9462,351,10025],"场景","https:\u002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ainColor":104},248737,"qian-long-kuan-hei-qi-miao-jin-shan-shui-tu-ba-fang-pan-yi-ming-248737","乾隆款黑漆描金山水图八方盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[9525,9526,1230,28,30,35,93,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1729d1d005aac9542934177043051ee.jpg",[],{"id":10103,"slug":10104,"title":10105,"dynasty":85,"author":10106,"museum":212,"description":10107,"tags":10108,"thumbUrl":10109,"material":678,"size":679,"collection":120,"collections":10110,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":104},240216,"zhi-wu-lv-shi-ye-lu-nan-240216","至五律诗页","陆南","陆深（1477年—1544年） 明代文学家、书法家。初名荣，字子渊，号俨山，南直隶松江府上海县（今上海市浦东新区）人。弘治十八年进士，授翰林院编修。遭刘瑾忌，改南京主事，瑾诛，复职，累官四川左布政使。嘉靖中，官至詹事府詹事。卒，赠礼部右侍郎，谥文裕。陆深书法遒劲有法，如铁画银钩。著述宏富，为明代上海人中绝无仅有。今上海市浦东新区陆家嘴地区也因其故宅和祖茔而得名。",[24,25,90,30,114,7,94,2103,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1feaf2fd6f2a481a4a9c5a62b9f0e4.jpg",[],{"id":10112,"slug":10113,"title":1037,"dynasty":129,"author":9086,"museum":212,"description":10114,"tags":10115,"thumbUrl":10116,"material":120,"size":120,"collection":120,"collections":10117,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":104},239351,"shan-shui-ce-lin-fu-chang-239351","此作近岸苍松挺劲，浓墨点簇松针，生机勃发，坡岸村居黛瓦素墙，隐于林间，晕开悠然乡居意趣。中景平湖如镜，淡墨晕出水汽朦胧之态，对岸林木错落，色墨交织层次明晰。远景危峰高耸，枯笔勾勒皴擦山石，敷以浅赭淡青，兼具厚重质感与清逸气韵。\n\n右上角题字落款，笔墨相映，融诗画为一体。全幅章法疏密得当，以淡彩浅墨营造出清旷淡远的山居雅境，笔致秀润雅致，尽显传统文人山水的写意风神，漫溢出平和冲淡的隐逸意趣。",[154,24,25,381,28,90,94,30,255,7,93,35,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead99b79c601ad5ccfc1e361a07e6f9.jpg",[],{"id":10119,"slug":10120,"title":8428,"dynasty":129,"author":3182,"museum":212,"description":10121,"tags":10122,"thumbUrl":10123,"material":120,"size":120,"collection":120,"collections":10124,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":104},239200,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239200","此帧以水墨绘山居清景，山谷间村居错落，林木蓊郁，飞泉穿岩漱石，层峦以淡墨晕染出空濛烟岚，将江南山水温润之态尽数铺展。笔墨以干笔皴擦出山石肌理，墨色层次清润柔和，意境幽寂淡远。左侧行书题跋笔致苍劲朴拙，书画相映成趣，尽显文人雅意。画面寄寓着幽居林泉的隐逸襟怀，将沉郁静穆的心境融于丘壑林泉，笔底皆是世外丘山，毫端尽见林下高致。",[24,90,381,94,95,170,30,59,60,58,92,35,93,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27dfdc15d81e286e5bd0c0537523e416.jpg",[],{"id":10126,"slug":10127,"title":8428,"dynasty":129,"author":3182,"museum":212,"description":10128,"tags":10129,"thumbUrl":10130,"material":120,"size":120,"collection":120,"collections":10131,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":104},239199,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239199","此帧绘天台桃源胜景，层岩峻岭拔地而起，飞瀑穿谷而下，溪湾回环间村居、板桥、渔舟错落隐现，林泉幽寂宛如化外仙境。以干笔皴擦勾勒山石苍莽肌理，淡墨晕染出空濛岚气，笔墨苍秀简远，尽显静穆清旷之致。左侧题咏桃源的行书笔致清劲疏朗，书画合璧，以文衬景，将世外幽居的澹逸与林下守志的襟怀融于一画，淡远萧散间，藏着幽栖丘山的雅意。",[24,90,94,381,95,170,30,59,60,92,35,93,229,138,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea69c09b056d642b6b126fa6049aec.jpg",[],{"id":10133,"slug":10134,"title":8551,"dynasty":129,"author":10135,"museum":212,"description":10136,"tags":10137,"thumbUrl":10139,"material":678,"size":679,"collection":120,"collections":10140,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":104},239157,"shan-shui-hua-hui-ce-chen-heng-ke-239157","陈衡恪","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,25,381,90,96,200,7,134,10138],"沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773e1713308ebeb08b3d2243dfe369f8.jpg",[],{"id":10142,"slug":10143,"title":10144,"dynasty":129,"author":6953,"museum":212,"description":10145,"tags":10146,"thumbUrl":10147,"material":120,"size":120,"collection":120,"collections":10148,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":104},238981,"shan-shui-ce-fang-wu-zhong-gui-bing-shu-shi-tian-ju-wang-chen-238981","山水册－仿吴仲圭并书石田句","此作以浅绛绘就林泉之景，近崖峻拔，草木翳然，山道逶迤通幽；山坳村居隐于松荫，朴拙静谧。干笔勾勒山石骨相，披麻皴晕染肌理，淡赭轻敷，色调清润柔和，尽显元人萧散简淡的意趣。\n\n题诗与画境交融，将幽寂的山居意韵娓娓道来。笔意苍秀古拙，不尚雕琢，以极简的笔墨写尽林泉高致，把隐逸的山居之思融于尺幅间，平淡之中自见隽永风神，尽显文人山水的写意雅趣。",[24,25,381,90,94,133,96,170,30,93,35,7,134,473,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53da4dccb0bb03892a40748465207366.jpg",[],{"id":10150,"slug":10151,"title":10152,"dynasty":129,"author":6953,"museum":212,"description":10153,"tags":10154,"thumbUrl":10155,"material":120,"size":120,"collection":120,"collections":10156,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":104},238974,"shan-shui-ce-fang-huang-rong-lao-ren-bi-yi-wang-chen-238974","山水册－仿黄荣老人笔意","此作用笔松秀苍润，以干淡笔墨写就水村山景。近岸怪石崚嶒，古松虬曲横斜，枝叶简括见风骨，临水村居错落，木构茅舍自带野逸之趣。远景平峦迤逦，淡墨晕染出空濛烟岚，水天一色间尽显清寂淡和。\n整幅画以仿古笔法写胸中丘壑，萧散简远，将江南水乡的闲静之致藏于笔墨间，淡岚轻霭里漫溢出幽居林下的雅逸意趣，不见繁复刻画，却在简淡之中尽显沉静安然的文人画意境。",[24,25,381,90,94,133,30,255,93,7,134,2093,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e913300ffb58dfa0c5f22d17733740c.jpg",[],{"id":10158,"slug":10159,"title":6154,"dynasty":129,"author":2409,"museum":212,"description":10160,"tags":10161,"thumbUrl":10163,"material":120,"size":120,"collection":120,"collections":10164,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":104},238843,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238843","此作以淡墨轻皴铺展乡野春景，笔致松秀温润。鳞次水田顺着田埂铺陈，行人缓行于阡陌，将郊野烟火气晕开。茅庐依古木而建，檐下稚童嬉闹，篱边碎花点染春意，悄然勾勒出春耕将歇的村居日常。\n\n全作以浅绛轻敷晕染山霭林色，不见浓艳，却将春日融融暖意浸透纸面。题识小字清雅端丽，与画境浑然相融，如一卷浅吟的田家诗，把江南乡居的恬然自足铺陈开来，尽显文人写意的清雅意趣，淡而弥真，将郊野闲适的春日意韵缓缓晕散，余韵悠长。",[24,28,381,30,35,7,2286,60,57,10162,723],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad00727a045c0dc41e992a061cac817.jpg",[],{"id":10166,"slug":10167,"title":6154,"dynasty":129,"author":2409,"museum":212,"description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in a Meadow – - National Gallery of Art - Washington (USA)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis 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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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