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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。",[142,23,24,26,25,75,29,143,80,7],"扇面","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffdfa2a6cedea91853cef1edc824ba57.jpg","未知","Xcm*Xcm","",[],56,{"id":151,"slug":152,"title":153,"dynasty":18,"author":154,"museum":155,"description":156,"tags":157,"thumbUrl":160,"material":34,"size":161,"collection":36,"collections":162,"showCount":163,"zanCount":61,"manualWeight":11,"mainColor":134},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","李山","耶鲁大学艺术博物馆","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[49,23,70,25,158,159,26,51,7,80,29,77,76],"枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[36],54,{"id":165,"slug":166,"title":17,"dynasty":167,"author":139,"museum":46,"description":168,"tags":169,"thumbUrl":171,"material":34,"size":172,"collection":36,"collections":173,"showCount":174,"zanCount":61,"manualWeight":11,"mainColor":40},219963,"feng-yu-gui-zhou-tu-yi-ming-219963","元","绘风浪中艄公送客渡江的情形，主人在江阁中呈翘首企盼之态，风与浪态势十足，是元人表现风雨的佳作。",[49,23,24,71,25,74,55,159,170,76,26,7],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c48f767776e83b70b453ae534c22dee.jpg","156.6x96.1厘米",[36],52,{"id":176,"slug":177,"title":178,"dynasty":66,"author":179,"museum":20,"description":180,"tags":181,"thumbUrl":188,"material":147,"size":147,"collection":147,"collections":189,"showCount":190,"zanCount":39,"manualWeight":11,"mainColor":40},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。",[49,23,51,25,26,182,54,159,158,183,74,184,185,7,186,187,143],"山","水","岩石","村舍","江","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],31,{"id":192,"slug":193,"title":17,"dynasty":18,"author":139,"museum":20,"description":194,"tags":195,"thumbUrl":197,"material":145,"size":146,"collection":147,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":40},290229,"feng-yu-gui-zhou-tu-yi-ming-290229","该画描绘近处巨岗高树，中部为广漠的江河，并置沙渚、坡岸、板桥、行舟、人物等，远处山峦耸峙，景色具有江南水乡山崇水阔的特点。",[23,196,74,55,7,30,76,29,24,26],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f808637e953e29f61f9cc677ffd081.jpg",[],22,{"id":201,"slug":202,"title":203,"dynasty":167,"author":204,"museum":20,"description":205,"tags":206,"thumbUrl":211,"material":145,"size":146,"collection":147,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":134},290790,"shan-shui-ce-wang-meng-290790","山水册","王蒙","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。",[23,70,207,208,209,210,25,7],"册","书法","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1192b244ee2c39720eb3b68f485d3e16.jpg",[],18,{"id":215,"slug":216,"title":217,"dynasty":18,"author":218,"museum":20,"description":219,"tags":220,"thumbUrl":224,"material":145,"size":146,"collection":147,"collections":225,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":40},288347,"feng-yu-wei-zhou-tu-yan-ci-yu-288347","风雨维舟图","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[142,23,72,25,74,170,29,80,221,7,26,51,222,223],"远山","水面","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa671c596f3518c9f5d1279fe7c89a10.jpg",[],{"id":227,"slug":228,"title":17,"dynasty":18,"author":139,"museum":20,"description":194,"tags":229,"thumbUrl":231,"material":145,"size":146,"collection":147,"collections":232,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":40},290228,"feng-yu-gui-zhou-tu-yi-ming-290228",[23,72,70,196,24,26,7,230,29,76,74,55],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbb9931dc8c8d644cebbb3637b2a6ce.jpg",[],17,{"id":235,"slug":236,"title":237,"dynasty":167,"author":139,"museum":20,"description":238,"tags":239,"thumbUrl":244,"material":145,"size":146,"collection":147,"collections":245,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":40},290799,"xi-qiao-feng-yu-zhou-yi-ming-290799","溪桥风雨轴","录入：石渠宝笈初编（养心殿），上册，668页；故宫书画录（卷八），第四册，71页；故宫书画图录，第五册，247-248页",[23,71,24,51,28,240,75,241,242,243,7,25,210],"美人","屋舍","柳树","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa98b74ce73c39e18efdf62315e0ddca.jpg",[],16,{"id":248,"slug":249,"title":250,"dynasty":18,"author":139,"museum":20,"description":251,"tags":252,"thumbUrl":254,"material":145,"size":146,"collection":147,"collections":255,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":40},289456,"feng-yu-gui-yu-tu-yi-ming-289456","风雨归渔图","近岸苍松虬曲扎根崖石，枝梢垂曳自带野逸之姿，坡坳间茅舍隐现，暗合村居幽寂。阔远江面烟波轻笼，两位渔翁策杖徐行浅滩，似趁风雨初收，踏浪而归。远景山峦晕在空濛烟霭中，与水色交融成一片淡墨朦胧，天际群雁振翅南飞，更衬江天寥廓清寂。\n\n全作用墨简淡空灵，以皴擦晕染绘就江南水泽的烟雨诗意，将渔人晚归的闲逸野趣融于山水空蒙间，笔简意丰，尽显山水以景抒情的含蓄禅味，藏着悠然江湖的澹远况味。",[23,196,24,26,31,74,55,159,76,7,253,210],"渔归","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d3f50e0cdd0cba0d145687dd5f0552.jpg",[],{"id":257,"slug":258,"title":259,"dynasty":18,"author":139,"museum":20,"description":260,"tags":261,"thumbUrl":263,"material":145,"size":146,"collection":147,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":40},288344,"feng-yu-la-qian-tu-yi-ming-288344","风雨拉纤图","淡墨晕染出烟雨空蒙的江天，水汽裹挟湿意漫过江岸。虬曲老树扎根滩涂，枝叶在风雨里飘摇，墨色浓淡晕开雨雾的朦胧质感。\n\n滩头纤夫躬身曳绳，身影隐在烟霭之间，江岸的冷寂荒寒里晕开细碎的人间烟火。虚虚实实的笔触，将江天浩渺的淡远与生计的艰辛相融，以方寸尺幅铺展出萧索又沉郁的意境，藏着细腻的世情体察，尽显小品画以小见大的雅致笔意，把冷寂江景与人间苦辛织进朦胧烟岚之中。",[23,142,24,159,74,25,7,210,262],"拉纤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2a3127e4d5c46eb9926b82d5d449dd.jpg",[],14,{"id":267,"slug":268,"title":269,"dynasty":66,"author":270,"museum":20,"description":271,"tags":272,"thumbUrl":273,"material":145,"size":146,"collection":147,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":134},290948,"lin-wu-pian-zhou-qian-gu-290948","林屋扁舟","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[23,207,24,25,159,75,96,208,210,209,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3ae2404f007492d08905843e368342.jpg",[],10,{"id":277,"slug":278,"title":279,"dynasty":122,"author":280,"museum":20,"description":281,"tags":282,"thumbUrl":287,"material":145,"size":146,"collection":147,"collections":288,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":134},288982,"shu-fa-li-zhou-wang-shi-min-288982","书法立轴","王时敏","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。",[208,71,283,210,284,285,286,7],"隶书","纸窗","林屋","灯火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F781f2b8757874e77dfb4918d9ed8b462.jpg",[],9,{"id":291,"slug":292,"title":293,"dynasty":66,"author":294,"museum":20,"description":295,"tags":296,"thumbUrl":297,"material":145,"size":146,"collection":147,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":134},240216,"zhi-wu-lv-shi-ye-lu-nan-240216","至五律诗页","陆南","陆深（1477年—1544年） 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