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（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。",[24,25,86,87,130,89,28,88,65,7,131,132,93,64,113],"山水画","云雾","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","绢本 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。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[23,25,26,173,130,174,88,175,176,177,178,179,7,180,181,182,183,184,185,186,187,188,189,190,191,192,193],"纸本设色","纪游山水","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","山溪","村落","屋宇","危桥","古道","白云","松杉","远山","城镇","船舶","万里寻亲","忠孝情怀","丛林","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],36,{"id":198,"slug":199,"title":200,"dynasty":18,"author":201,"museum":170,"description":202,"tags":203,"thumbUrl":210,"material":211,"size":212,"collection":47,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":51},289343,"han-shan-fei-pu-tu-yang-shi-xian-289343","寒山飞瀑图","杨士贤","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》",[23,25,24,130,89,88,204,7,65,205,206,30,207,208,209],"寒山","枯树","房屋","雪景","马","清寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F433408c78ce215adab31f025490fae8a.jpg","未知","Xcm*Xcm",[],35,{"id":216,"slug":217,"title":218,"dynasty":18,"author":82,"museum":83,"description":219,"tags":220,"thumbUrl":222,"material":96,"size":97,"collection":47,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":51},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","秋林飞瀑图","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,25,86,61,87,88,28,90,7,65,93,221,30],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg",[],26,{"id":226,"slug":227,"title":228,"dynasty":56,"author":229,"museum":170,"description":230,"tags":231,"thumbUrl":235,"material":47,"size":47,"collection":47,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":51},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","戴进","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。",[23,25,86,24,89,61,88,232,147,132,63,208,206,207,64,233,234,7],"山","旅人","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],22,{"id":239,"slug":240,"title":241,"dynasty":126,"author":242,"museum":170,"description":243,"tags":244,"thumbUrl":249,"material":47,"size":47,"collection":47,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":155},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","佚名","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。",[23,25,86,89,28,61,88,109,65,93,245,246,206,30,131,247,92,181,248,7],"河流","小船","植被","峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],19,{"id":253,"slug":254,"title":255,"dynasty":256,"author":257,"museum":258,"description":259,"tags":260,"thumbUrl":263,"material":47,"size":47,"collection":74,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":266},202802,"ceng-luan-fei-pu-tu-zhou-huang-bin-hong-202802","层峦飞瀑图轴","近代","黄宾虹","上海博物馆","层峦叠嶂间，飞瀑漱石溅玉，沿崖壁奔流而下，滋养谷底草木。山间屋舍错落隐于浓荫，小径蜿蜒向上，似引观者入幽境。笔墨苍劲老辣，皴擦点染结合，积墨与留白相映，山峦肌理浑厚，云雾缭绕处虚实相生。草木葱茏、山石嶙峋，既含自然野趣，又藏文人雅致，尽显山川灵秀与静谧生机，仿佛可闻泉声鸟语，可感林泉之乐。",[25,86,87,89,88,61,7,261,262,38,23],"屋舍","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3977ed45304cb2a20713c0d1536a341.jpg",[74],18,"969487",{"id":268,"slug":269,"title":270,"dynasty":126,"author":271,"museum":170,"description":272,"tags":273,"thumbUrl":279,"material":211,"size":212,"collection":74,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":155},237997,"shan-shui-ce-qin-zu-yong-237997","山水册","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[25,86,274,89,275,276,88,61,63,64,113,93,65,221,206,262,7,30,247,277,278],"册","行书","印章","笔墨","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8cda5b92f8e3e57d5d8504a2c9485.jpg",[74,153],16,{"id":283,"slug":284,"title":285,"dynasty":56,"author":286,"museum":170,"description":287,"tags":288,"thumbUrl":291,"material":47,"size":47,"collection":74,"collections":292,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":155},237548,"han-yan-fei-pu-zhou-ding-yun-peng-237548","寒岩飞瀑轴","丁云鹏","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。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[25,87,89,61,289,7,205,147,91,64,290,88,29],"寒岩","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfb54d7727b890b82438801fe3408aa.jpg",[74],{"id":294,"slug":295,"title":296,"dynasty":126,"author":297,"museum":258,"description":298,"tags":299,"thumbUrl":300,"material":47,"size":47,"collection":74,"collections":301,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":303},202176,"yan-luan-wan-cui-tu-zhou-xiang-kui-202176","烟峦晚翠图轴","项奎","层叠山峦间烟岚轻笼，飞瀑垂落注入澄澈溪涧，林木葱郁处亭榭隐现，近景老树虬枝舒展，小桥跨水连岸。笔墨细腻，山石以皴法摹写肌理，树木勾勒点染兼具，水墨晕染出朦胧烟峦之态，意境清幽静谧，尽显文人山水的雅致情韵。",[25,61,88,89,113,63,64,93,65,7,87,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ffd62426d293494742832143f74e55.jpg",[74],15,"a39787",{"id":305,"slug":306,"title":307,"dynasty":18,"author":308,"museum":170,"description":309,"tags":310,"thumbUrl":312,"material":47,"size":47,"collection":47,"collections":313,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":155},227985,"yin-yan-fei-pu-tu-jiang-can-227985","阴岩飞瀑图","江参","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,25,86,24,87,61,88,311,7,93,65,89,28],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":315,"slug":316,"title":317,"dynasty":126,"author":142,"museum":258,"description":318,"tags":319,"thumbUrl":321,"material":47,"size":47,"collection":74,"collections":322,"showCount":50,"zanCount":77,"manualWeight":11,"mainColor":323},201650,"fang-zhao-meng-fu-chun-shan-fei-pu-tu-zhou-wang-hui-201650","仿赵孟頫春山飞瀑图轴","山峦层叠间，青绿设色晕染出春山的温润，飞瀑隐于岩岫，似携潺潺清音流淌。苍松倚石盘曲，虬枝着墨苍劲，与秀逸的山石皴法相映成趣——既有赵孟頫的雅致风骨，又融自身笔墨意韵。淡墨烘染的云雾虚虚实实，衬得峰峦错落有致，溪水蜿蜒勾连生机。整体意境清幽，仿古中见新意，笔墨细腻处显文人山水的诗意从容，尽显“以古为师”的精妙造诣。",[25,86,145,28,88,146,61,65,7,320,23],"苍松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fad6897e8f921a68139502da5f6630.jpg",[74],"bdaf9f",{"id":325,"slug":326,"title":327,"dynasty":56,"author":328,"museum":170,"description":329,"tags":330,"thumbUrl":342,"material":47,"size":47,"collection":47,"collections":343,"showCount":344,"zanCount":11,"manualWeight":11,"mainColor":51},228389,"xu-jing-yang-yi-ju-cui-zi-zhong-228389","许旌阳移居","崔子忠","此作用高远章法铺陈，上层危崖嵯峨，飞瀑垂落，秋木虬曲点缀其间，清寂高古。中层为画面核心，仙众环侍主角，衣纹细劲如游丝，设色雅静沉凝，人物神态安然超脱，尽显道骨仙风。下层童仆往来搬运，身形灵动，为幽寂山水添上几分鲜活意趣。\n\n全图工写相济，山石勾勒皴染兼具，林木敷色雅致淡和，将仙隐迁居的出尘意境晕染透彻，笔意内敛醇厚，把叙事感与山水清逸融为一体，尽显晚明人物画的高雅典致。",[23,25,24,87,331,130,327,332,333,29,334,335,336,28,337,7,338,65,33,339,340,341],"人物画","仙隐迁居","道释题材","工写相济","皴染","游丝描","危崖","秋木","道骨仙风","清寂高古","出尘意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a52147b095678beb4349cffd858869e.jpg",[],11,{"id":346,"slug":347,"title":348,"dynasty":256,"author":349,"museum":258,"description":350,"tags":351,"thumbUrl":10,"material":47,"size":47,"collection":74,"collections":352,"showCount":344,"zanCount":11,"manualWeight":11,"mainColor":353},202954,"shan-shui-tu-zhou-zhang-shan-ma-202954","山水图轴","张善孖","这幅山水图以层叠山峦为骨架，飞瀑如白练穿云坠谷，云雾氤氲间营造出虚实相生的空灵之境。崖边古松虬劲，枝干旁逸斜出，树下一人凭石远眺，似沉醉于瀑声山色中。笔墨运用精妙，山石以皴法勾勒，线条刚柔相济；云雾用淡墨晕染，轻盈缥缈。整体画风雅致清幽，既承传统山水的笔墨韵味，又蕴含自然生机，尽显文人画的意趣与情怀。",[25,61,88,28,7,131,62,38,87,89,23],[74],"cdbea7",{"id":355,"slug":356,"title":357,"dynasty":126,"author":358,"museum":170,"description":359,"tags":360,"thumbUrl":361,"material":211,"size":212,"collection":47,"collections":362,"showCount":363,"zanCount":11,"manualWeight":11,"mainColor":155},287745,"fang-shi-xi-shan-shui-xiao-jun-xian-287745","仿石溪山水","萧俊贤","萧俊贤( 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