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-1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[70,24,25,140,125,51,141,91,29,54,55,71,31,53,107,142,74,143,144,7,145,146],"册","界画","飞鸟","夕阳","明月","美人","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米","人物画精选",[149],376,{"id":153,"slug":154,"title":155,"dynasty":120,"author":156,"museum":104,"description":157,"tags":158,"thumbUrl":166,"material":38,"size":38,"collection":58,"collections":167,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":169},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[70,24,51,55,7,29,159,160,161,162,163,27,164,26,165],"山","水","树","房","桥梁","写意","纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[58,80],375,"BDBDBD",{"id":171,"slug":172,"title":173,"dynasty":120,"author":174,"museum":104,"description":175,"tags":176,"thumbUrl":179,"material":36,"size":111,"collection":38,"collections":180,"showCount":181,"zanCount":182,"manualWeight":11,"mainColor":42},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周","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，明代绘画大师，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， 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厘米，横62.5 厘米",[58,193],140,{"id":291,"slug":292,"title":293,"dynasty":120,"author":294,"museum":295,"description":296,"tags":297,"thumbUrl":298,"material":299,"size":300,"collection":58,"collections":301,"showCount":302,"zanCount":195,"manualWeight":11,"mainColor":42},222073,"ming-huang-xing-shu-tu-wu-bin-222073","明皇幸蜀图","吴彬","天津博物馆","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[70,24,25,29,51,125,28,54,34,55,107,31,30,32,52,7,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f879903396d07b9e64c58c5d2acea.jpg","纸本设色","65x112 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ng-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[24,27,29,54,309,108,30,564,565,28,204,7,74,566],"江水","蓑笠","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[58],68,{"id":572,"slug":573,"title":574,"dynasty":18,"author":347,"museum":217,"description":575,"tags":576,"thumbUrl":579,"material":57,"size":580,"collection":58,"collections":581,"showCount":582,"zanCount":133,"manualWeight":11,"mainColor":42},217074,"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[70,24,25,577,51,29,54,107,34,30,161,578,178,142,7],"扇面","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[58],66,{"id":584,"slug":585,"title":586,"dynasty":18,"author":347,"museum":269,"description":587,"tags":588,"thumbUrl":589,"material":590,"size":591,"collection":38,"collections":592,"showCount":593,"zanCount":133,"manualWeight":11,"mainColor":115},223493,"ming-huang-xing-shu-tu-zhou-yi-ming-223493","明皇幸蜀图轴","此画绘安史之乱之后，唐玄宗李隆基离开长安逃往巴蜀避难的故事。一群人仓促慌乱而逃，此时杨贵妃已经被唐玄宗赐死于马嵬坡，而画面中无人骑行的白马，应该就是杨贵妃死前的坐骑。",[70,24,51,29,54,26,28,34,30,52,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9c78e8345ce04c7530887632de2f2.jpg","绢本","33x45",[],65,{"id":595,"slug":596,"title":597,"dynasty":282,"author":347,"museum":47,"description":598,"tags":599,"thumbUrl":602,"material":57,"size":38,"collection":149,"collections":603,"showCount":593,"zanCount":182,"manualWeight":11,"mainColor":42},219478,"hu-ren-xing-lv-tu-yi-ming-219478","胡人行旅图","此作以枯寂寒荒的塞外平野为底，疏槎兀立，淡墨晕染出土石的荒寒之气。画面里的行旅队伍意态生动，有人策骑缓行，裹紧衣袍抵御朔风，有人牵马驻足，与同伴低语暂歇，鞍上驮囊暗合行路迢遥。\n\n笔触简淡古雅，设色沉着温润，将边地行旅的羁旅劳顿，同侪间的松弛慰藉细腻铺陈。未刻意描摹壮阔景致，只截取这一段行路日常，便将塞外游子的漂泊况味尽显，带着质朴厚重的边地生活质感，淡远的氛围感勾画出羁旅之人的漫漫归途。",[23,24,51,54,34,108,7,600,204,601],"羁旅","塞外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64831dedfb1933a98537829e6477b59c.jpg",[149],{"id":605,"slug":606,"title":607,"dynasty":18,"author":66,"museum":470,"description":608,"tags":609,"thumbUrl":610,"material":57,"size":611,"collection":58,"collections":612,"showCount":593,"zanCount":11,"manualWeight":11,"mainColor":169},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[70,24,25,23,577,27,51,28,29,107,54,74,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[58],{"id":614,"slug":615,"title":616,"dynasty":282,"author":617,"museum":20,"description":618,"tags":619,"thumbUrl":621,"material":51,"size":622,"collection":58,"collections":623,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":169},220983,"fang-guo-xi-han-shan-xing-lv-yun-shou-ping-220983","仿郭熙寒山行旅","恽寿平","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[70,24,51,124,28,29,30,108,336,204,7,541,620,34],"远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5acd697e8aabd17c2b3f85707c6b56.jpg","77.2厘米",[58,80],64,{"id":626,"slug":627,"title":628,"dynasty":18,"author":629,"museum":104,"description":630,"tags":631,"thumbUrl":632,"material":57,"size":38,"collection":58,"collections":633,"showCount":634,"zanCount":11,"manualWeight":11,"mainColor":42},218611,"han-lin-ce-zhang-tu-hu-yan-long-218611","寒林策杖图","胡彦龙","寒林枝干虬曲如铁，墨色浓淡交织出萧瑟之态。右侧山石以沉凝皴笔勾勒，纹理苍劲，与疏林相映成趣。坡岸之上，策杖者孑然独立，衣袂轻扬似携山风，身影虽小却意态悠然。古雅的棕褐底色衬出笔墨清劲，虚实间藏着宋人的隐逸情怀——林泉之致，不在喧嚣，而在山、树、人的静默相对里。笔墨简淡却韵味悠长，冬日清寒与心境澄明揉进每一笔，观者仿佛能听见林间风声，触到山石凉，读懂那份寄情山水的淡然。",[24,25,29,54,74,30,28,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60709ae11956c61255df326d8727958c.jpg",[58],62,{"id":636,"slug":637,"title":17,"dynasty":18,"author":216,"museum":104,"description":638,"tags":639,"thumbUrl":642,"material":36,"size":111,"collection":38,"collections":643,"showCount":644,"zanCount":11,"manualWeight":11,"mainColor":42},288839,"xi-shan-xing-lv-tu-zhu-rui-288839","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[24,235,27,28,108,30,31,7,323,54,204,640,641],"雪景","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea03f9828d4df9b53dc2f163cd69a4a0.jpg",[],61,{"id":646,"slug":647,"title":648,"dynasty":102,"author":649,"museum":20,"description":650,"tags":651,"thumbUrl":653,"material":57,"size":654,"collection":149,"collections":655,"showCount":644,"zanCount":11,"manualWeight":11,"mainColor":42},220246,"chu-lie-tu-hu-gui-220246","出猎图","胡瓌","本幅描写塞外族人，携鹰出猎之情景。画面绘猎骑者四人，穿圆领窄袖长袍，腰配短刀，骑者左手驭马，右手架着猎鹰，四骑聚于一处，似在交流狩猎经过。最右端者之马鞍上，捆扎一只胸前渗血的野兔。人物的髡发须髯、骏马的鬃鬣、猎鹰的毛羽，无不描绘精致，形象逼真。作者传为胡瓌，契丹人，约活动于九、十世纪之间，素以精于描绘塞外风光及人马而闻名，因以名之。",[70,24,25,23,51,125,54,34,7,652],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb54e1035101d68949b7ae4331ce513.jpg","32.9x44.3",[149],{"id":657,"slug":658,"title":659,"dynasty":18,"author":492,"museum":67,"description":660,"tags":661,"thumbUrl":662,"material":663,"size":664,"collection":149,"collections":665,"showCount":644,"zanCount":182,"manualWeight":11,"mainColor":42},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[70,24,25,140,496,54,29,52,71,142,34,31,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","绢本,水墨","27x44.7cm",[149],{"id":667,"slug":668,"title":669,"dynasty":18,"author":347,"museum":670,"description":671,"tags":672,"thumbUrl":673,"material":165,"size":674,"collection":78,"collections":675,"showCount":676,"zanCount":11,"manualWeight":11,"mainColor":42},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","美国纳尔逊阿特金斯艺术博物馆","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[70,24,25,50,27,28,29,52,236,336,204,159,160,146,7,71,142,73,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[78,58,80],60,{"id":678,"slug":679,"title":680,"dynasty":120,"author":681,"museum":104,"description":682,"tags":683,"thumbUrl":685,"material":38,"size":38,"collection":38,"collections":686,"showCount":687,"zanCount":195,"manualWeight":11,"mainColor":169},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","孙枝","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 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九五方士庶野云晚濑图轴 九六郑燮竹石图轴 九七李方膺松石图 九八钱维城五君子图轴 九九罗聘篦谷像 一○○罗聘兰花图 一○一方薰柏龄图轴. 一○二奚冈陂塘秋水图轴 一○三张崟临顿新居第三图卷 一○四张培敦玉溪梦隐图 一○五改琦竹石幽兰图轴 一○六屠倬为南雅作山水轴 一○七王礼琵琶仕女图 一○八虚谷松鹤中堂 一○九任薰茹叶蜻蜓图 一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 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进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[70,24,25,50,51,125,27,29,54,53,31,52,34,784,564,74,71,7,143],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],51,{"id":789,"slug":790,"title":438,"dynasty":102,"author":439,"museum":104,"description":440,"tags":791,"thumbUrl":792,"material":36,"size":111,"collection":38,"collections":793,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":42},288840,"jiang-di-wan-jing-tu-dong-yuan-288840",[23,24,25,26,91,51,29,54,107,31,74,7,55,143,178,177,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb6c45faab9facbb27c89e848862159.jpg",[],49,{"id":796,"slug":797,"title":17,"dynasty":18,"author":798,"museum":20,"description":799,"tags":800,"thumbUrl":801,"material":663,"size":802,"collection":38,"collections":803,"showCount":804,"zanCount":11,"manualWeight":11,"mainColor":169},289563,"xi-shan-xing-lv-tu-ma-lin-289563","马麟","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[70,23,24,25,26,27,29,28,55,7,30,34,177,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],48,{"id":806,"slug":807,"title":808,"dynasty":282,"author":809,"museum":67,"description":810,"tags":811,"thumbUrl":813,"material":38,"size":38,"collection":58,"collections":814,"showCount":804,"zanCount":133,"manualWeight":11,"mainColor":169},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[24,25,26,27,28,29,55,812,178,7,52,30],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[58,80,815],"书法精选",{"id":817,"slug":818,"title":819,"dynasty":282,"author":347,"museum":481,"description":820,"tags":821,"thumbUrl":822,"material":57,"size":38,"collection":149,"collections":823,"showCount":804,"zanCount":11,"manualWeight":11,"mainColor":42},219557,"yi-ju-tu-yi-ming-219557","移居图","苍松虬劲盘绕，层岩峻壑氤氲古雅幽寂之气，林谷恍若世外桃源。一行人策蹇徐行，骑牛者衣袂舒展，神色悠然，随行众人或持物或顾盼，情态松弛怡然，将举家迁居的奔波，化为踏山寻幽的雅事。\n\n设色古淡沉着，绢面的岁月斑驳，更添沉静古意。山石以粗劲斧劈皴写就，古松笔墨苍劲老辣，人物线条细劲灵动，动静相映间，把隐世迁居的从容散淡尽数铺展，尽显寄情林泉的隐逸意趣，晕开东方古典人文的温雅余韵。",[70,24,25,51,125,28,29,54,323,52,236,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff184a8f18e6d13ec3a08cbd9aea9857b.jpg",[149],{"id":825,"slug":826,"title":827,"dynasty":120,"author":538,"museum":104,"description":828,"tags":829,"thumbUrl":831,"material":38,"size":38,"collection":38,"collections":832,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":42},234805,"ren-wu-zhou-xie-shi-chen-234805","人物轴","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[24,25,26,51,28,54,52,830,142,29,7,31],"推车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],47,{"id":835,"slug":836,"title":837,"dynasty":282,"author":838,"museum":217,"description":839,"tags":840,"thumbUrl":841,"material":165,"size":38,"collection":58,"collections":842,"showCount":843,"zanCount":133,"manualWeight":11,"mainColor":169},237413,"shan-shui-tu-zhou-kun-can-237413","山水图轴","髡残","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,27,28,26,29,74,73,54,7,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[58],46,{"id":845,"slug":846,"title":847,"dynasty":120,"author":538,"museum":20,"description":848,"tags":849,"thumbUrl":851,"material":57,"size":38,"collection":58,"collections":852,"showCount":843,"zanCount":11,"manualWeight":11,"mainColor":42},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[24,7,29,159,160,162,161,850,164,26,590,51,91],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[58],{"id":854,"slug":855,"title":856,"dynasty":120,"author":857,"museum":104,"description":858,"tags":859,"thumbUrl":861,"material":36,"size":111,"collection":38,"collections":862,"showCount":863,"zanCount":133,"manualWeight":11,"mainColor":169},289753,"chun-shan-ji-cui-tu-dai-jin-289753","春山积翠图","戴进","《春山积翠图》绘一山间小径，一老者策杖缓行，侍童携琴随后，山间深处屋宇隐约。近景冈丘作古松一组，欹斜盘曲，挺立坡侧，是画面上分量最重的部分，而松荫下山路间，便是画面的主要人物。 [1] 此图画面呈“s”形布局之特点，诸景交错，产生深远感和开阔感。画中春山染绿，翠色茫茫，展现了春光中的壮丽景色。在技法上，笔墨简劲粗放，山石以大片渲染为主，加几笔勾勒和斧劈皴。",[23,24,25,26,27,29,54,860,7,28],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9526f0a780eae247d4606bd9760b2cf.jpg",[],44,{"id":865,"slug":866,"title":867,"dynasty":282,"author":868,"museum":67,"description":869,"tags":870,"thumbUrl":871,"material":712,"size":872,"collection":58,"collections":873,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":169},239548,"ren-yi-yun-shan-ce-ma-tu-zhou-ren-yi-239548","任颐云山策马图轴","任颐","本幅自题：“山从人面起，云傍马头生。光绪丙戌长夏，山阴任颐伯年甫作图于海上寓次。”钤二白文印：“任伯年”、“任颐印”。\n又题：“霭庭仁兄先生见而谬赏即赠之就正。任颐。”钤二白文印：“任颐印”、“任伯年”。\n“丙戌”是清光绪十二年（1886年），任颐时年47岁。\n此图据李白《送友人入蜀》诗句：“山从人面起，云傍马头生”（见《全唐诗》卷一七七）拟意而作。通过描绘迎面而起的山峦，马头处浮动的白云，生动地图解了诗意，山形地势的险峻和行旅者不畏艰险的探索精神了然于目。此图在创作上摒弃了传统山水画高远、平远、深远的构图方式，以“S”形山脊为主线，突出了人、马的形象，同时也延伸了山峦的纵向走势，使画作的空间层次得以扩展，是任颐艺术成熟期的人物山水画精品之作。",[24,25,26,51,27,54,29,34,30,336,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddee5e93c323d07fb938845edf71c073.jpg","纵135.5厘米，横65厘米",[58,149,193],{"id":875,"slug":876,"title":877,"dynasty":18,"author":878,"museum":104,"description":879,"tags":880,"thumbUrl":881,"material":38,"size":38,"collection":38,"collections":882,"showCount":863,"zanCount":133,"manualWeight":11,"mainColor":42},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","李唐","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[70,24,25,50,125,51,54,34,161,30,7,177,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":884,"slug":885,"title":886,"dynasty":120,"author":771,"museum":67,"description":887,"tags":888,"thumbUrl":889,"material":165,"size":890,"collection":193,"collections":891,"showCount":863,"zanCount":133,"manualWeight":11,"mainColor":169},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[70,24,26,51,74,54,29,146,620,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[193],{"id":893,"slug":894,"title":895,"dynasty":120,"author":347,"museum":470,"description":896,"tags":897,"thumbUrl":898,"material":57,"size":899,"collection":149,"collections":900,"showCount":901,"zanCount":11,"manualWeight":11,"mainColor":42},219620,"ming-ren-lao-zi-chu-guan-tu-yi-ming-219620","明人老子出关图","古松虬劲盘绕城关，苍枝舒展如盖。老子安卧牛车之中，仆从前后相随，道童负囊循山径而来，行旅意态松弛悠然。远景山峦以斧劈皴挥写，雄奇险峻间晕染流岚云雾，晕化开山林的幽深空寂。画作以山水衬行旅，将道家归隐出关的澹然意趣，融于苍阔山景之间，人物刻画细腻生动，山水笔力刚劲爽利，把出世的超脱与山川的雄浑相融，尽显古典山水人物画的雅致意韵，藏着悠远沉静的道家风骨。",[24,25,23,26,51,54,29,55,7,323,322,161,30,28,850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3b3a50865b6183c2ae52a94aaca214.jpg","纵140.3横67.5厘米",[149],43,{"id":903,"slug":904,"title":905,"dynasty":18,"author":906,"museum":104,"description":907,"tags":908,"thumbUrl":910,"material":38,"size":38,"collection":38,"collections":911,"showCount":912,"zanCount":133,"manualWeight":11,"mainColor":42},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","许道宁","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[70,23,24,25,26,51,29,54,34,322,909,52,236,7,55,28],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],42,{"id":914,"slug":915,"title":916,"dynasty":18,"author":357,"museum":104,"description":917,"tags":918,"thumbUrl":922,"material":590,"size":923,"collection":38,"collections":924,"showCount":925,"zanCount":11,"manualWeight":11,"mainColor":42},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[70,23,24,25,50,29,28,51,126,55,52,71,7,919,108,30,250,72,920,921,404],"行人","悬崖","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],41,{"id":927,"slug":928,"title":929,"dynasty":282,"author":469,"museum":104,"description":930,"tags":931,"thumbUrl":932,"material":36,"size":111,"collection":38,"collections":933,"showCount":925,"zanCount":11,"manualWeight":11,"mainColor":169},229014,"fang-gu-shan-shui-wang-shi-min-wang-hui-229014","仿古山水-王时敏","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。”",[23,24,25,29,27,51,28,146,107,31,71,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":935,"slug":936,"title":937,"dynasty":231,"author":347,"museum":938,"description":939,"tags":940,"thumbUrl":941,"material":57,"size":942,"collection":58,"collections":943,"showCount":925,"zanCount":11,"manualWeight":11,"mainColor":42},217913,"xue-jian-shan-xing-tu-yi-ming-217913","雪涧山行图","费城艺术博物馆","整幅画浓烈的冬日氛围使人感到温馨舒适。画家巧妙地运用色彩与线条，使得画面生动而富有层次感。这幅画不仅展示了元朝人民的传统冬季活动，更展示了画家对冬季自然美景的热爱与描绘能力。",[24,23,25,29,51,28,640,31,159,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddf65cbaf189045f36b411463d3189b.jpg","22.5x24.7cm",[58],{"id":945,"slug":946,"title":947,"dynasty":120,"author":174,"museum":104,"description":175,"tags":948,"thumbUrl":949,"material":36,"size":111,"collection":38,"collections":950,"showCount":951,"zanCount":11,"manualWeight":11,"mainColor":169},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","仿范宽山水",[24,25,140,29,27,28,124,30,32,55,107,31,7,71,177,272,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],40,{"id":953,"slug":954,"title":245,"dynasty":18,"author":955,"museum":104,"description":956,"tags":957,"thumbUrl":960,"material":36,"size":111,"collection":38,"collections":961,"showCount":962,"zanCount":11,"manualWeight":11,"mainColor":169},290058,"ba-qiao-feng-xue-tu-xia-gui-290058","夏圭","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 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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）。",[70,24,50,299,235,1033,28,1034,1035,1036,1037,1038,1039,1040,109,1041,1042,7,1043,1044,620,1045,1046,1047,1048,1049,1050],"纪游山水","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","飞瀑","山溪","屋宇","危桥","白云","松杉","城镇","船舶","万里寻亲","忠孝情怀","丛林","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],{"id":1054,"slug":1055,"title":1056,"dynasty":18,"author":1057,"museum":20,"description":1058,"tags":1059,"thumbUrl":1060,"material":590,"size":38,"collection":38,"collections":1061,"showCount":1025,"zanCount":11,"manualWeight":11,"mainColor":42},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","萧照","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[70,24,23,51,28,29,54,323,31,161,30,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709f3a195d6a3665c242433604b692d1.jpg",[],{"id":1063,"slug":1064,"title":1065,"dynasty":120,"author":1066,"museum":67,"description":1067,"tags":1068,"thumbUrl":1070,"material":712,"size":1071,"collection":38,"collections":1072,"showCount":1073,"zanCount":133,"manualWeight":11,"mainColor":169},233751,"qian-gu-hu-qiu-qian-shan-tu-zhou-qian-gu-233751","钱穀虎丘前山图轴","钱谷","钱穀主张绘画师法造化。他曾说：“丹青者，熔以法，模以天。”此幅作于隆庆元年丁卯（1567年）钱穀59岁时，写虎丘山前山实景，描绘了从二山门到山顶佛阁的景象。千人石、剑池、双吊桶、虎丘寺塔皆收入幅中。从题诗上看，画家是着意表现秋天空林落木、清寂高旷的景致，借景抒情，传达出寻胜访幽的文人雅趣。与《求志园图》一样，此幅山水不只是虎丘山云岩寺的简单再现，而是画家根据画面需要将有特征性的景物进行了重新安排，是意笔楼阁与文人山水紧密结合之作。如果去掉画面中虎丘寺塔等特殊性建筑物，则完全变成了一幅纯文人山水画。",[24,51,28,26,29,55,71,1069,52,30,54,7],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26491f6fd766a14bd39dce498d642a.jpg","纵111.5厘米，横31.8厘米",[],35,{"id":1075,"slug":1076,"title":1077,"dynasty":282,"author":1078,"museum":20,"description":1079,"tags":1080,"thumbUrl":1082,"material":223,"size":1083,"collection":58,"collections":1084,"showCount":1073,"zanCount":182,"manualWeight":11,"mainColor":42},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[70,24,25,26,51,29,126,336,52,236,430,53,55,107,31,1081,28,7,71],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[58,193],{"id":1086,"slug":1087,"title":1088,"dynasty":120,"author":1089,"museum":1090,"description":1091,"tags":1092,"thumbUrl":1093,"material":663,"size":1094,"collection":58,"collections":1095,"showCount":1073,"zanCount":11,"manualWeight":11,"mainColor":42},218419,"shan-shui-tu-wang-e-218419","山水图","王谔","日本东京国立博物馆","画面中山峦巍峨，云雾似轻纱缭绕峰谷，虚实相生间显深远之致。近景几株树木枝干虬劲，枝叶婆娑灵动；树下小径上，行旅者或策骑缓行、或负物徐步，身形小巧却动态毕现，为静谧山水添生活意趣。笔墨工细中见洒脱，山石勾勒劲挺皴擦有度，树木点染鲜活，人物刻画传神。构图层次分明，远近错落营造开阔幽深的空间感，既得山川雄浑，又含林泉雅致，尽显明代院体山水的精妙韵致。",[24,29,51,28,26,52,30,54,34,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd462fa3e723446f765cd83d78591601.jpg","146x80cm",[58],{"id":1097,"slug":1098,"title":1099,"dynasty":282,"author":1100,"museum":217,"description":1101,"tags":1102,"thumbUrl":1104,"material":38,"size":38,"collection":58,"collections":1105,"showCount":1073,"zanCount":133,"manualWeight":11,"mainColor":1106},203429,"ming-fei-chu-sai-tu-zhou-leng-mei-203429","明妃出塞图轴","冷枚","画面以明妃出塞为核心，人物排布错落有致。昭君端坐白马之上，衣袂轻扬；侍女持团扇紧随，神情温婉；两侧随从或牵马缓行，或捧物侍立，动态鲜活。背景山峦绵延，枯树疏枝点缀其间，萧瑟的边塞景致与人物的离愁相呼应。画家以工笔细描人物衣纹，线条流畅婉转；设色雅致沉稳，既显华贵又不失苍凉。山水部分运用皴法，勾勒出山石肌理，增添了画面的厚重感。整体作品将叙事性与抒情性融合，在细腻的笔触中传递出历史故事的深沉意蕴。",[70,26,125,51,54,145,34,29,7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画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[24,27,235,640,7,108,54,309,204,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed436c0d3f62c1b92ca57ca18b61d988.jpg",[],33,{"id":1128,"slug":1129,"title":1130,"dynasty":120,"author":1131,"museum":67,"description":1132,"tags":1133,"thumbUrl":1134,"material":712,"size":1135,"collection":38,"collections":1136,"showCount":1126,"zanCount":133,"manualWeight":11,"mainColor":169},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","张宏","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[70,24,25,50,27,51,29,920,7,272,178,28,336,374,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 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1）。胡瓌喜用狼毫笔，借其挺健之笔毫绘制精致之作品。本幅即其精描细写之佳作，与院藏胡「回猎图」之画风及尺寸大小均相似，原属同一组之作 ，皆曾经宋徽宗收藏，画幅上遗有「宣和」半印。",[70,24,51,125,54,34,7,1257,178,1258,1259,1260,1261],"山丘","鞍马","平野","线描","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a84886fe554f046fcb60e0d99942b0b.jpg","设色,绢本","全幅 43.5x121.7公分",[149],26,{"id":1268,"slug":1269,"title":1270,"dynasty":120,"author":1271,"museum":104,"description":1272,"tags":1273,"thumbUrl":1274,"material":38,"size":38,"collection":38,"collections":1275,"showCount":1276,"zanCount":11,"manualWeight":11,"mainColor":42},239508,"jiang-nan-qiu-se-tu-zhou-wen-jia-239508","江南秋色图轴","文嘉","此作用淡墨轻赭晕染出江南秋意，上部山峦清润秀雅，苔点错落点缀林麓，林木疏密有致，萧疏中带着静穆生机。下部水泽蜿蜒萦回，旅人策马缓行于汀岸，衣袂悠然，将羁旅闲情融于清秋烟景之中。\n\n整幅画作笔致松秀平和，以平远、高远构图铺展秋江山水，吴门画派的文人雅趣尽显其中。题诗与画面呼应，把怀乡之思寄于江南秋色，淡逸清灵的笔墨间，尽显秋日萧淡雅致的意境，将山水之美与诗意情怀相融，尽显清雅文人意韵。",[24,25,26,51,29,28,54,34,52,7,31,74,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb264b32edebbf4b6fad5f761cbd88b0d.jpg",[],25,{"id":1278,"slug":1279,"title":1088,"dynasty":102,"author":1280,"museum":104,"description":1281,"tags":1282,"thumbUrl":1283,"material":36,"size":111,"collection":38,"collections":1284,"showCount":1276,"zanCount":11,"manualWeight":11,"mainColor":42},230841,"shan-shui-tu-gui-guan-230841","珪观","珪观，唐代画家，代表作有《山水图》。",[23,24,25,577,28,51,29,159,250,54,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92278b55313173802c39eb57a8cf6.jpg",[],{"id":1286,"slug":1287,"title":318,"dynasty":18,"author":1288,"museum":104,"description":1289,"tags":1290,"thumbUrl":1291,"material":38,"size":38,"collection":38,"collections":1292,"showCount":1276,"zanCount":11,"manualWeight":11,"mainColor":42},227415,"pan-che-tu-jiang-guan-dao-227415","江贯道","江贯道是北宋时期的画家，他名叫江参，贯道是他的字。 江贯道的山水画风格融合了董源、巨然的画风，擅画远山丛丛，水天一色。 清初的王鉴很喜欢江贯道的画风，临仿了多幅他的作品。 从清初四王的风格来看，他们都有强大的摹古能力，尤其是宋元名家的风格特征已经深深地烙印在他们的作品之中。",[24,23,25,29,51,28,73,74,323,322,54,159,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],{"id":1294,"slug":1295,"title":1296,"dynasty":282,"author":1297,"museum":104,"description":1298,"tags":1299,"thumbUrl":1300,"material":38,"size":38,"collection":38,"collections":1301,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":169},224197,"bai-he-ling-tu-ye-xin-224197","白鹤岭图","叶欣","这幅画作以淡墨勾勒皴擦，绘就层叠陡峻的岭岳，山道逶迤盘桓，楼阁凭崖而立，将雄奇山势与雅致人文景致相融。远山以简笔淡染，衬出江天浩渺的空寂意境，整体笔致清疏秀雅，尽显静穆萧散的文人画气质。\n画面右上角题字与山水呼应，文气悠然晕开。以简淡笔墨写尽丘壑之幽，既有山峦的苍浑厚重，又不失江南山水的秀逸空灵，将登高览胜的开阔心境藏于层叠山石间，意韵悠长内敛，是小品山水画里的清逸佳构。",[70,24,25,29,27,51,28,177,178,30,55,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eec84ce1e5fd0e1223a28f0051174f.jpg",[],24,{"id":1304,"slug":1305,"title":1306,"dynasty":18,"author":492,"museum":269,"description":1307,"tags":1308,"thumbUrl":1309,"material":223,"size":1310,"collection":38,"collections":1311,"showCount":1302,"zanCount":133,"manualWeight":11,"mainColor":42},221625,"xiao-ya-hong-yan-zhi-shen-tu-ma-he-zhi-221625","小雅·鸿雁之什图","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。\n擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,25,50,496,51,272,54,52,142,29,146,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb39b1e043ef15aca59080d2812129.jpg","32.4 1304.9 cm",[],{"id":1313,"slug":1314,"title":1315,"dynasty":18,"author":878,"museum":104,"description":1316,"tags":1317,"thumbUrl":1319,"material":36,"size":111,"collection":38,"collections":1320,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":42},290064,"wen-ji-gui-han-ce-ye-li-tang-290064","文姬归汉册页","宋李唐《文姬归汉图》：该画册共计十八幅，形式属于“上文、下图”的连环故事画。内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[24,23,220,25,177,696,51,54,34,142,1318,7,127,1194],"毡帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2f1beef670706c52b0b48a9f76ecc8.jpg",[],23,{"id":1323,"slug":1324,"title":1325,"dynasty":120,"author":538,"museum":104,"description":1326,"tags":1327,"thumbUrl":1328,"material":38,"size":38,"collection":38,"collections":1329,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":42},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[70,24,25,26,29,51,28,361,250,55,107,31,7,54,34,30,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":1331,"slug":1332,"title":1333,"dynasty":18,"author":798,"museum":104,"description":1334,"tags":1335,"thumbUrl":1336,"material":38,"size":38,"collection":38,"collections":1337,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":42},227635,"chun-jiao-hui-yan-tu-ye-ma-lin-227635","春郊回雁图页","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[70,24,23,25,220,51,29,142,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f17cd983e2e0d63867687a89a84056.jpg",[],{"id":1339,"slug":1340,"title":1341,"dynasty":18,"author":46,"museum":104,"description":1342,"tags":1343,"thumbUrl":1344,"material":38,"size":38,"collection":38,"collections":1345,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":42},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[70,24,25,140,28,51,29,34,54,7,108,30,429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":1347,"slug":1348,"title":1349,"dynasty":18,"author":347,"museum":67,"description":1350,"tags":1351,"thumbUrl":1352,"material":165,"size":1353,"collection":58,"collections":1354,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":42},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[70,24,25,50,124,27,28,29,161,32,236,71,31,54,146,107,108,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[58,80],{"id":1356,"slug":1357,"title":1358,"dynasty":18,"author":347,"museum":67,"description":1359,"tags":1360,"thumbUrl":1361,"material":590,"size":1362,"collection":78,"collections":1363,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":42},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。",[70,24,23,125,51,141,54,34,237,161,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[78],{"id":1365,"slug":1366,"title":1367,"dynasty":120,"author":1368,"museum":67,"description":1369,"tags":1370,"thumbUrl":1372,"material":165,"size":1373,"collection":149,"collections":1374,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":169},219862,"wen-jin-tu-wu-wei-219862","问津图","吴伟","吴伟（1459—1508年），字士英，又字次翁，号小仙，江夏（今湖北武汉）人。",[70,24,25,50,51,272,1371,54,74,7,221,52,178],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7f98dcd688a6d6944b102a42c5da70.jpg","纵46.3cm; 横110.2cm",[149],{"id":1376,"slug":1377,"title":1378,"dynasty":282,"author":1379,"museum":104,"description":1380,"tags":1381,"thumbUrl":1382,"material":38,"size":38,"collection":38,"collections":1383,"showCount":1384,"zanCount":11,"manualWeight":11,"mainColor":42},228952,"shan-shui-ren-wu-ce-ye-liu-kai-yuan-jiang-228952","山水人物册页六开","袁江","《袁江塞北彤云》是清代袁江创作的一幅水墨设色画。\n此图是山水人物六开册页中的一幅。\n袁江擅画山水、界画，但在这幅画中，画家显示了他在表现人物方面的深厚功力。\n画面左上方题“塞北彤云”，描绘的是一女子怀抱孩子坐在马上，在一肩扛樱枪，腰挂弯刀的男子护卫下在塞外风雪中前行的场景。\n雪景刻画简洁生动，延伸出画外，营造了塞外一望无际、空无一物的自然环境；人物刻画细致精到，妇人低着头紧紧地用外衣裹住小童，马也低垂着头，前面的男子姿态紧张地回望妇人，这样的动态都揭示着他们正经历着恶劣的大风，天空一片阴霾，也许一场大雪即将袭来。\n袁江，生卒年不详。\n字文涛，江苏江都（今扬州）人。\n雍正年间曾在宫廷作画，供奉养心殿。\n他善画山水、楼阁，是清代界画能手，亦作花鸟。\n早年学习仇英，又继承了宋代画院的风格，山水宗阎次平，楼阁宗郭忠恕。\n所作多青绿山水，工致异常，与其精密的界画相配合，十分协调。\n他的界画在继承前人基础上，加强了生活气息的描绘，笔法工整，设色艳丽，风格富丽堂皇，在当时被推为第一。\n但由于清初“四王”画派风靡一时，所以画史上对他的记载不多。",[24,25,140,51,29,54,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f535a750f80cee391f878cb498a94f.jpg",[],22,{"id":1386,"slug":1387,"title":1388,"dynasty":18,"author":216,"museum":104,"description":1389,"tags":1390,"thumbUrl":1391,"material":38,"size":38,"collection":38,"collections":1392,"showCount":1384,"zanCount":11,"manualWeight":11,"mainColor":169},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[70,23,24,25,140,51,141,28,29,53,55,73,74,31,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":1394,"slug":1395,"title":1396,"dynasty":231,"author":1397,"museum":20,"description":1398,"tags":1399,"thumbUrl":1402,"material":745,"size":1403,"collection":58,"collections":1404,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":169},290342,"qiu-shan-xing-lv-zhou-ma-wan-290342","秋山行旅轴","马琬","崇山叠峦，行旅骑驴荷物而行。全图构景系密，用笔多属中锋，用墨简澹，设色淡雅。压顶一峰皴笔疏简，以平点层层作小树，特觉清逸秀出。该幅无作者款印，幅上有董其昌题，云：“马文璧秋山行旅图”。",[24,23,26,235,27,51,1400,204,107,31,30,52,55,7,1401,178],"秋山","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701795d9df53db4d67bf8d7090ab986.jpg","124.5x33.3",[58],21,{"id":1407,"slug":1408,"title":1409,"dynasty":282,"author":370,"museum":104,"description":1410,"tags":1411,"thumbUrl":1413,"material":36,"size":111,"collection":38,"collections":1414,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":42},235272,"chun-chou-mai-lang-tu-zhou-yuan-yao-235272","春畴麦浪图轴","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。",[24,25,26,51,125,29,237,54,52,7,1412,620],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b039db189b0a1cf8a3e88d590b307b8.jpg",[],{"id":1416,"slug":1417,"title":1418,"dynasty":18,"author":1419,"museum":693,"description":1420,"tags":1421,"thumbUrl":1422,"material":165,"size":38,"collection":38,"collections":1423,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":42},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","荆浩","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[70,24,25,235,27,51,28,125,177,272,178,54,29,30,52,7,71,18,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":1425,"slug":1426,"title":1189,"dynasty":18,"author":1190,"museum":104,"description":1427,"tags":1428,"thumbUrl":1429,"material":38,"size":38,"collection":38,"collections":1430,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":42},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[70,23,24,25,26,51,125,54,34,7,73,74,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":1432,"slug":1433,"title":1434,"dynasty":231,"author":550,"museum":1435,"description":1436,"tags":1437,"thumbUrl":1439,"material":57,"size":38,"collection":149,"collections":1440,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":169},219394,"qiu-lin-du-qi-tu-zhao-yong-219394","秋林独骑图","上海龙美术馆","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,25,577,51,29,54,34,1438,52,30,7,177,178,272,125,28],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82362cf51743c1d61b49e21bf59d4c8.jpg",[149],{"id":1442,"slug":1443,"title":1444,"dynasty":282,"author":1445,"museum":104,"description":1446,"tags":1447,"thumbUrl":1449,"material":36,"size":111,"collection":38,"collections":1450,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":169},290477,"za-hua-ce-luo-pin-290477","杂画册","罗聘","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[24,140,27,51,54,34,1448,640,7,29,178,177],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592d4b0ace611b41fb72031e43f9b747.jpg",[],20,{"id":1453,"slug":1454,"title":382,"dynasty":231,"author":1455,"museum":20,"description":1456,"tags":1457,"thumbUrl":1458,"material":745,"size":1459,"collection":38,"collections":1460,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":169},290056,"qiu-shan-xing-lv-tu-wang-yuan-290056","王渊","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。",[24,23,25,26,27,29,204,54,34,7,52,236,142,31,177,178,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dc5b3e0ed601d4c95f7accbb93912c.jpg","96.1x28.2",[],{"id":1462,"slug":1463,"title":1464,"dynasty":18,"author":1465,"museum":104,"description":1466,"tags":1467,"thumbUrl":1471,"material":36,"size":111,"collection":38,"collections":1472,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":115},289871,"han-shan-pan-che-tu-zhang-jia-289871","寒山盘车图","张浃","宣和画院待诏。郭熙门弟子。画人物、山水善布置，好作盘车图。绍兴（一一三一至一一六二）间复官，赐金带。",[24,235,141,640,7,1468,1469,28,1470],"盘车","寒景","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ef6c19adfe76479308d9fbb3dab52f.jpg",[],{"id":1474,"slug":1475,"title":1476,"dynasty":282,"author":1477,"museum":67,"description":1478,"tags":1479,"thumbUrl":1481,"material":712,"size":38,"collection":38,"collections":1482,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":169},234364,"qiu-shan-xing-lv-tu-zhou-tang-dai-234364","秋山行旅图轴","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”。",[24,25,26,51,28,29,159,52,1021,1480,7],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9a2dd40266c2c72c70a5c569f827d5.jpg",[],{"id":1484,"slug":1485,"title":1486,"dynasty":282,"author":347,"museum":104,"description":1487,"tags":1488,"thumbUrl":1491,"material":36,"size":111,"collection":38,"collections":1492,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":169},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。",[24,51,125,28,50,29,55,107,31,7,71,52,237,1489,1490,282],"道路","湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":1494,"slug":1495,"title":1496,"dynasty":120,"author":347,"museum":269,"description":1497,"tags":1498,"thumbUrl":1499,"material":590,"size":1500,"collection":58,"collections":1501,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":42},222463,"yang-bian-cui-ma-song-liang-mang-tu-quan-juan-yi-ming-222463","扬鞭催马送粮忙图全卷","燕文贵（967年—1044年），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。出身微贱，曾隶籍军中。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。擅画山水、屋木、人物。作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。燕文贵本隶军籍，曾任县主簿，掌管出纳官物、销注簿书，阶从九品。太宗（976－997）时游汴京（今河南开封），于天门道上卖画，为待诏高益所见，荐画相国寺壁，遂入图画院（一说大中祥符（1008－1016）初补图画院祗侯）。\n所作山水，不专师法，极富变化，独立一家规范。其画多为北方大川，破笔皴点，干擦淡染，细碎清雅，苍润秀媚，岸边水渚多画台榭相接，景致优美，富有变化，人称“燕家景致”。所作景物丰富多变，布局精巧谨严，山水树石、亭台楼阁各得其所，互臻其妙，令人目不暇接，如临其境。画风介于南北山水之间，清雅秀媚，温润可爱。尝画《七夕夜市图》，写七夕之夜京师民俗事象及夜市交易，“状其浩穰之所，至为精备”。《舶船渡海图》反映当时海上贸易之发达，画虽不盈尺，但人舟密聚，樯帆指呼奋跃，尽得情状。画面风波浩荡，岛屿相望，蛟蜃杂出，有咫尺千里之势，极为精妙。惜皆佚。存世作品有《江山楼观图》、《溪山楼阁图》、《秋山琳宇图》、《烟岚水殿图》等。\n画卷以平铺式绘山峦连绵，峰回路转，山间处云雾缥缈，高塔、庙宇、楼阁隐现，瀑布、泉水汇于山脚，水面宽阔，有船只往来、另数只依岸停泊。河岸边、小桥上、崎岖山道上，运粮的驴队浩浩荡荡，络绎不绝。画面中部绘有一座客栈，茅屋里数位客人吃饭歇脚，另有数人坐于高台上凭栏观景。此图非燕文贵所绘，更似明人风格。",[70,24,25,50,27,29,54,34,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0120c1f854c45c250d407c1fb8a69f0e.jpg","30x498",[58,80],{"id":1503,"slug":1504,"title":1505,"dynasty":18,"author":1190,"museum":104,"description":1506,"tags":1507,"thumbUrl":1508,"material":38,"size":38,"collection":38,"collections":1509,"showCount":1510,"zanCount":11,"manualWeight":11,"mainColor":42},227685,"hu-qi-qiu-lie-tu-chen-ju-zhong-227685","胡骑秋猎图","宋 陈居中(传) 胡骑春猎图 绢本设色 24.1x27.3cm 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乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 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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。",[24,235,27,640,1683,323,7,126,108,237,1684,30],"牛车","石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[78],15,{"id":1690,"slug":1691,"title":1692,"dynasty":120,"author":347,"museum":104,"description":1693,"tags":1694,"thumbUrl":1695,"material":36,"size":111,"collection":38,"collections":1696,"showCount":1688,"zanCount":11,"manualWeight":11,"mainColor":42},288157,"fang-song-ren-xue-shan-xing-lv-tu-li-zhou-yi-ming-288157","仿宋人雪山行旅图立轴","此作用笔苍劲老辣，以层层积墨晕染出冰封雪裹的寒山，嶙峋怪石棱角分明，积雪似凝脂覆于崖巅，留白与墨色相生，晕出山坳间的濛濛寒雾。古松虬曲苍劲，枝干擎着薄雪，于冷寂中透出倔强生机。\n\n山径间踽踽独行的旅人，为这片阒寂雪境添上一缕烟火气，反衬出天地空阔荒寒。整幅画将冬山的凛冽清旷铺陈开来，静穆中藏着深幽的山水意趣，尽显萧寒孤远的冬日山野之美。",[70,24,23,26,29,124,27,640,250,30,7,204,54,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2231d82e879c9de295b72e33f2816647.jpg",[],{"id":1698,"slug":1699,"title":1700,"dynasty":282,"author":469,"museum":104,"description":1701,"tags":1702,"thumbUrl":1704,"material":38,"size":38,"collection":38,"collections":1705,"showCount":1688,"zanCount":133,"manualWeight":11,"mainColor":169},235606,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-hui-235606","仿黄公望山水图轴","此作以高远兼深远之法写就，层峦叠嶂自右上逶迤铺展，山势雄秀兼具，留白晕染仿出初雪覆山的清润寒意。干笔皴擦间点缀湿墨晕染，勾勒出岩体质朴苍劲的纹理。\n\n林木疏密错落，枯荣交织，挺劲枝干带着摇曳之姿，涧水潺潺穿林绕石，掩映处的山居茅舍，衬出林泉幽寂的林下之致。右上角题诗补白，笔墨与文心相融，既得元人萧散简远的林下意境，又不失清丽秀润的自家风骨，师法前人却不泥古，将山川林壑的静穆生机晕染开来，尽显山水笔墨的隽永意趣。",[24,25,26,27,51,28,29,52,30,31,336,1703,236,7],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ebab63a5fd626204d87b2f599add4a.jpg",[],{"id":1707,"slug":1708,"title":1709,"dynasty":18,"author":1057,"museum":20,"description":1710,"tags":1711,"thumbUrl":1715,"material":223,"size":1716,"collection":38,"collections":1717,"showCount":1688,"zanCount":11,"manualWeight":11,"mainColor":169},221663,"guan-shan-xing-lv-xiao-zhao-221663","关山行旅","此图右侧，仅画江水、浅滩、远渚、烟树。山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景。左侧最高峰画得半壁实半壁虚，虚处乃为江上为气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。近山浓重，远山清淡，又形成虚实对比。名款“萧照”二字楷书于幅中央之树石间，则与《西湖志余》所载相同。",[70,23,24,25,51,28,29,30,52,336,7,204,126,1712,1713,978,1714,34],"峭壁","烟霭","天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fe06d072d80ba657a4399c5a76700d.jpg","24.2 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cm",[],{"id":1719,"slug":1720,"title":1721,"dynasty":120,"author":516,"museum":104,"description":1722,"tags":1723,"thumbUrl":1724,"material":36,"size":111,"collection":38,"collections":1725,"showCount":1726,"zanCount":11,"manualWeight":11,"mainColor":169},283712,"kun-shan-dao-zhong-tu-shan-ye-dong-qi-chang-283712","昆山道中图扇页","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。",[577,24,27,29,74,71,177,178,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fcac3a0cb1874d19d22563b4d9bc18.jpg",[],14,{"id":1728,"slug":1729,"title":1730,"dynasty":120,"author":156,"museum":67,"description":1731,"tags":1732,"thumbUrl":1733,"material":165,"size":1734,"collection":38,"collections":1735,"showCount":1726,"zanCount":11,"manualWeight":11,"mainColor":169},232963,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232963","文徵明山水册","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。",[24,25,140,27,272,28,178,177,29,52,126,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c940fc330cc0160f794275869038cac.jpg","28.5×15.8厘米",[],{"id":1737,"slug":1738,"title":1739,"dynasty":120,"author":347,"museum":20,"description":1740,"tags":1741,"thumbUrl":1742,"material":1743,"size":1744,"collection":38,"collections":1745,"showCount":1726,"zanCount":11,"manualWeight":11,"mainColor":42},231358,"yuan-ren-hua-lie-qi-tu-zhou-yi-ming-231358","元人画猎骑图轴","一队人马行进於秋林之中，人物之衣冠，马匹之鞍具，与李唐、陈居中文姬归汉图之胡骑甚相似。但此幅用笔较为纤秀，旧传为元人之作。",[24,25,26,51,125,54,34,159,161,178,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad70a4cebe3d61e2604c96263c616d7.jpg","轴","39.4x60.1公分",[],{"id":1747,"slug":1748,"title":1749,"dynasty":18,"author":347,"museum":20,"description":1750,"tags":1751,"thumbUrl":1752,"material":57,"size":38,"collection":58,"collections":1753,"showCount":1726,"zanCount":11,"manualWeight":11,"mainColor":169},218711,"wu-kuan-ce-jian-tu-yi-ming-218711","无款策蹇图","纨扇小景里，寒林疏枝以墨线轻勒，淡赭暮色晕染古绢，似浸着时光的沉香。驴背文人衣袂微拂，随林间风意缓行，身后僮仆持杖相随，步履从容。笔触细腻处，枝桠虬曲、草叶疏斜皆见匠心，却无雕琢之痕。小径蜿蜒向林深处，隐现的屋舍若有若无，藏着宋时文人的隐逸意趣。不追喧嚣，只向林泉寻一份悠然——驴蹄轻踏的是岁月缓调，目光所及是心之所向的清宁。古绢斑驳如记忆纹理，将千年前的从容心境凝在这方圆镜里，引观者沉湎于淡远诗意，仿佛听见林间风过枝叶的轻响，触到宋代特有的雅寂与温厚。",[70,24,25,27,51,28,29,161,54,309,7,142,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac997e7b74e20f2dc71b1bc5a8a80c3a.jpg",[58],{"id":1755,"slug":1756,"title":356,"dynasty":18,"author":347,"museum":104,"description":1757,"tags":1758,"thumbUrl":1760,"material":36,"size":111,"collection":38,"collections":1761,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},289961,"xue-shan-xing-lv-tu-yi-ming-289961","此作用高远之法铺展冬日丘壑，主峰雄峙苍莽，积雪覆裹山峦，淡墨晕染出萧寒空濛的雪意。山石勾勒皴擦兼具骨力与浑润，枯木虬枝劲挺，尽显冬山荒寒之态。河谷间板桥茅舍错落，行旅驮队徐行于冰岸，为寂廖雪景晕开一缕人间烟火气。以水墨铺陈，借留白晕染烘托雪后山川的清寂辽远，将北国冬山的沉雄冷寂，与行旅浮生的意趣相融，于绢素间铺展出冬日山水的苍莽生机，尽显山水笔墨的意韵与造境匠心。",[70,24,23,235,27,26,28,361,640,204,30,108,107,55,7,1759],"人马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007534380f02353665a1374e0d8404f1.jpg",[],{"id":1763,"slug":1764,"title":1765,"dynasty":120,"author":1368,"museum":104,"description":1766,"tags":1767,"thumbUrl":1769,"material":36,"size":111,"collection":38,"collections":1770,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},287798,"ren-wu-er-wu-wei-287798","人物二","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[70,24,1193,27,309,108,1768,7,178],"仆从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66c6706c8fa8d6e6956c78481387148.jpg",[],{"id":1772,"slug":1773,"title":1774,"dynasty":282,"author":1775,"museum":104,"description":1776,"tags":1777,"thumbUrl":1779,"material":38,"size":38,"collection":38,"collections":1780,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},235520,"yuan-ji-shan-shui-tu-ce-shi-tao-235520","原济山水图册","石涛","淡墨皴擦出层叠山峦，带着苍莽野逸之气，蜿蜒山道串起深谷山居，晕开雨后初霁的湿润空濛。前景林木错落，虬曲枝干间点叶疏密有致，将江南山野的幽寂鲜活铺展。\n\n右上角题诗与画面呼应，诗画交融，暗合山乡行路的澹然况味。笔意纵恣却不失秀润，干湿墨色互用，让山石肌理灵动自然，全无刻硬之感，尽显山水清灵雅致。将天地间静穆生机凝于尺幅，随性旷达的文人意趣藏在每一处笔墨里，是意韵悠长的山水佳构。",[24,25,27,28,140,164,29,159,161,7,30,1778,126,52],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5c6622bc1fcd2c25c587e7049d8fce.jpg",[],{"id":1782,"slug":1783,"title":1784,"dynasty":282,"author":1785,"museum":371,"description":1786,"tags":1787,"thumbUrl":1788,"material":165,"size":1789,"collection":38,"collections":1790,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":169},232675,"shan-shui-tu-qing-shan-gu-dao-wang-yuan-qi-232675","山水图(青山古道)","王原祁","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[24,25,26,51,29,30,52,7,272,178,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec42a1201b6359b7b747022555c207d.jpg","80.4x43.5cm",[],{"id":1792,"slug":1793,"title":1794,"dynasty":231,"author":550,"museum":104,"description":1795,"tags":1796,"thumbUrl":1797,"material":38,"size":38,"collection":38,"collections":1798,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":115},228029,"fang-you-tu-zhao-yong-228029","访友图","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[70,24,51,29,28,54,71,52,107,31,7,73,74,142,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":1800,"slug":1801,"title":1221,"dynasty":18,"author":347,"museum":104,"description":1802,"tags":1803,"thumbUrl":1804,"material":38,"size":38,"collection":38,"collections":1805,"showCount":41,"zanCount":133,"manualWeight":11,"mainColor":42},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[70,23,24,25,577,51,125,141,54,34,52,55,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":1807,"slug":1808,"title":1809,"dynasty":282,"author":1810,"museum":104,"description":1811,"tags":1812,"thumbUrl":1813,"material":36,"size":111,"collection":149,"collections":1814,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":169},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,25,140,51,125,54,34,250,30,7,29,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[149,193],12,{"id":1817,"slug":1818,"title":1008,"dynasty":120,"author":1819,"museum":104,"description":1820,"tags":1821,"thumbUrl":1822,"material":1823,"size":38,"collection":58,"collections":1824,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":169},237628,"shan-shui-ce-shen-hao-237628","沈颢","沈颢（1586—1680后），字朗倩，号石天、朗道人，吴（今江苏苏州）人。补博士弟子员。沈颢风仪轩举，博雅多闻。\n早年薙发为僧，中年还俗。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著“画尘”，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,27,140,28,29,74,146,7,620,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20073fbc7840edd200c6a8edfaff6335.jpg","纸本，墨笔",[58],{"id":1826,"slug":1827,"title":1828,"dynasty":282,"author":1829,"museum":104,"description":1830,"tags":1831,"thumbUrl":1833,"material":38,"size":38,"collection":38,"collections":1834,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":42},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","禹之鼎","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[70,24,50,51,496,54,29,1832,323,322,74,73,55,31,7],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":1836,"slug":1837,"title":1838,"dynasty":120,"author":1839,"museum":67,"description":1840,"tags":1841,"thumbUrl":1842,"material":590,"size":1843,"collection":38,"collections":1844,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":42},222428,"pan-che-tu-ce-li-xi-yan-222428","盘车图册","李希颜","李希颜，字愚庵，河南郏县人，生平不详，明代儒学家，他性格严峻，品行修养高，博览群书。朱元璋当了皇帝以后，因人推荐，亲自书写了诏书，把李希颜召进宫殿，选定他做王子们的教师。这些王子就是后来被皇帝分封的十位藩王。\n李希颜向十位小王子讲授尧舜禹商汤，行大仁、仗大义的道理与事迹，这些小王子，难免有不听教导、顽皮的时候。李希颜执教严厉，虽然是王子，有不服教育或不认真学习的，他照样用笔管打他们的脑门。打得多了，脑门上便留下了痕迹。有一天，朱元璋抚摸着小王子被打的伤痕，十分生气。马皇后知道原因后，大声的反问说：“哪里有用尧、舜的标准，来教训你儿子，反使你发脾气的?” 朱元璋听了这话，立刻止了气语，平静了下来。以后一直很尊敬他、善待他。",[70,24,29,51,28,55,30,52,322,7,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9345d506d0d1b7e6d586a3fc76f70f47.jpg","12.7×17.1cm",[],{"id":1846,"slug":1847,"title":1848,"dynasty":18,"author":1849,"museum":493,"description":1850,"tags":1851,"thumbUrl":1852,"material":712,"size":1853,"collection":815,"collections":1854,"showCount":1815,"zanCount":11,"manualWeight":11,"mainColor":169},221684,"er-jun-tu-juan-yang-wei-221684","二骏图卷","杨微","描绘女真族人驯马手套马之惊心动魄场面。画中一奚官裘皮秋装乘骑奔驰，两匹正在奔腾的淡赭墨色马肥壮野逸，造型准确，神态生动，大有追风抹电之势，令人惊奋。\n该画用笔严谨工整，沉着豪放，线条遒劲，勾勒灵活，运笔流畅，人物和马之神态表情刻画细腻，栩栩如生，真实地反映了北方少数民族狩猎生活之特点和勇悍、粗犷之个性。明代黄旸题诗赞曰：“雄姿腾踏双飞黄，走如抹电风沙扬。权奈自是渥洼种，奔逐恍若神龙骧。\n前驹野性未易制，胡儿直把长缨系。且驱且挽力无穷，落日平沙浩无际。乃知调习良可驯，伯乐一顾价无伦。毛品虽为天厩亚，神骏能空冀北群。人间此马难重致，杨微妙笔传真意。……”图左自署款：“大定甲辰高唐杨微画”。从署款推定，此图作于金世宗大定二十四年（1184）。拖尾有明初人应光雯、黄寿、黄旸三人七言诗题跋，一九八三年詹宏羲先生将其捐赠给辽宁省博物馆收藏。",[70,24,25,50,125,51,54,34,272,178,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63999d1776682b106f06be528567b609.jpg","纵29.8厘米，横62.3厘米",[815],{"id":1856,"slug":1857,"title":1858,"dynasty":231,"author":347,"museum":104,"description":1859,"tags":1860,"thumbUrl":1862,"material":36,"size":111,"collection":38,"collections":1863,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":42},287549,"xue-jian-pan-che-tu-yi-ming-287549","雪涧盘车图","千里征途的艰辛景色。全图结构谨严，右侧的雪景疏松，左侧的山石树木紧凑，其间旅队蜿蜒而上。造型写实功力深厚，是南宋院画中的杰出小品。",[24,23,235,640,126,1861,7,1468,221,34,54,52,28],"山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e76546a20a81c1e59800f3c51b0eb56.jpg",[],{"id":1865,"slug":1866,"title":318,"dynasty":18,"author":347,"museum":104,"description":1867,"tags":1868,"thumbUrl":1870,"material":38,"size":38,"collection":38,"collections":1871,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":42},223595,"pan-che-tu-yi-ming-223595","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 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66.1厘米",[],{"id":1913,"slug":1914,"title":1008,"dynasty":282,"author":1379,"museum":217,"description":1915,"tags":1916,"thumbUrl":1918,"material":38,"size":38,"collection":58,"collections":1919,"showCount":1891,"zanCount":11,"manualWeight":11,"mainColor":1920},203334,"shan-shui-ce-yuan-jiang-203334","画面以平远构图铺展，前景坡岸之上，两骑人物策行，衣袂轻扬间似有秋风拂面。中景数株红树灿然，枝叶如染，于淡赭底色中格外醒目；远景层峦隐现，古塔孑立，与疏林相映成趣。笔墨兼工带写，人物勾勒简练传神，树木设色明艳却不失清雅，山水皴擦与晕染结合，营造出悠远旷达的秋郊行旅氛围。",[24,140,51,29,54,34,7,1917,70],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0222e9b4466d18ad77a6c4b0cb0dfcac.jpg",[58],"937a65",{"id":1922,"slug":1923,"title":1924,"dynasty":18,"author":347,"museum":20,"description":1681,"tags":1925,"thumbUrl":1926,"material":663,"size":1686,"collection":38,"collections":1927,"showCount":1928,"zanCount":11,"manualWeight":11,"mainColor":42},290992,"xue-zhan-niu-che-tu-zhou-yi-ming-290992","雪栈牛车图轴",[24,29,640,1683,7,108,30,55,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6324d78b18762fa47d1e6ed961e4053c.jpg",[],9,{"id":1930,"slug":1931,"title":1932,"dynasty":120,"author":121,"museum":104,"description":122,"tags":1933,"thumbUrl":1934,"material":36,"size":111,"collection":38,"collections":1935,"showCount":1928,"zanCount":11,"manualWeight":11,"mainColor":169},288014,"wen-ji-gui-han-tu-shan-mian-chou-ying-288014","文姬归汉图扇面",[23,24,577,125,51,54,34,7,29,127,1194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343b2d7148e59265a1451d9491a22cd.jpg",[],{"id":1937,"slug":1938,"title":1939,"dynasty":231,"author":347,"museum":104,"description":1886,"tags":1940,"thumbUrl":1942,"material":36,"size":111,"collection":38,"collections":1943,"showCount":1928,"zanCount":11,"manualWeight":11,"mainColor":42},287582,"ming-fei-chu-sai-tu-yi-ming-287582","明妃出塞图",[24,23,26,51,125,54,145,34,29,52,7,127,178,1941],"明妃出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fb6880298a3f8f31f8ea0956c72786.jpg",[],{"id":1945,"slug":1946,"title":1947,"dynasty":282,"author":1948,"museum":217,"description":1949,"tags":1950,"thumbUrl":10,"material":38,"size":38,"collection":58,"collections":1951,"showCount":1928,"zanCount":11,"manualWeight":11,"mainColor":1952},203226,"shi-jia-shan-shui-tu-ce-zhao-shen-203226","十家山水图册","赵绅","淡墨晕染的远山如笼轻烟，层叠隐现间透着空灵。近景孤石嶙峋，以简练皴笔勾勒纹理，质感厚重苍劲。蜿蜒小径穿林而过，几株树木枝桠疏朗，浅红点缀似含秋意。小径上两行人缓步，身影悠然，衬得山野愈显静谧。笔墨清润雅致，设色浅淡自然，将山水之幽寂与人文之闲趣相融，尽显传统山水的悠远韵味。",[29,27,51,28,146,7,52,919,140,70],[58],"c2ab87",{"id":1954,"slug":1955,"title":1956,"dynasty":120,"author":347,"museum":104,"description":1957,"tags":1958,"thumbUrl":1960,"material":36,"size":111,"collection":38,"collections":1961,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":1962},288103,"shan-si-wen-dao-tu-li-zhou-yi-ming-288103","山寺问道图立轴","淡墨晕染出山岚空濛，远山隐在烟霭间，如美人敛眉含黛。崖壁奇崛，皴笔硬朗刻画出山石苍劲肌理，古松虬曲扎根危岩，枝叶舒展间带萧疏野趣。山径蜿蜒盘桓，半山古寺藏于松涛深处，飞檐翘角若隐若现，禅意暗生。溪畔三两行人正拾级缓行，似欲赴山寺问道，幽寂山林因这几抹人影多了灵动意趣。\n\n画作以虚实相生之法铺陈意境，淡墨轻岚衬出世外林泉的静穆清远，将文人寄情山水、寻幽问道的雅致襟怀藏于尺幅间，简淡笔墨里尽是悠远林下之思。",[70,24,26,235,27,28,55,250,30,31,54,7,71,336,178,1959],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0dd14d32bd01d376f036a7af62e871.jpg",[],"F48FB1",{"id":1964,"slug":1965,"title":1966,"dynasty":282,"author":1967,"museum":104,"description":1968,"tags":1969,"thumbUrl":1971,"material":38,"size":38,"collection":38,"collections":1972,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":169},238739,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238739","画弘历和江文通诗意图册","董邦达","淡墨晕染长空烟霭，岸堤垂柳依依拂水，晕开缱绻别意。画面之中主客执手对晤，眉宇间尽是临别喟叹，侍童垂立默立一侧，将别离的怅惘悄然铺展。右侧车马仆役整装待发，赶路的仓促与岸边的不舍形成细腻反差。\n整体笔致清逸温婉，以极简水墨勾勒人物景致，留白悠远空灵。题诗与画境呼应交融，将文人间临歧送别的深挚情谊藏在淡远的景致中，把黯然销魂的离别诗意，化作可视的水墨离愁，尽显雅致静穆的古典韵致。",[24,25,140,27,496,54,34,1970,221,178,7],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67273436627451c00ef39357b7eb425f.jpg",[],{"id":1974,"slug":1975,"title":1976,"dynasty":120,"author":1271,"museum":104,"description":1977,"tags":1978,"thumbUrl":1979,"material":38,"size":38,"collection":38,"collections":1980,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":169},236408,"xiao-xiang-ba-jing-ce-wen-jia-236408","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n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。”",[24,25,140,27,28,29,55,71,52,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed7536b187e8a91088501410f554325.jpg",[],{"id":1982,"slug":1983,"title":1008,"dynasty":120,"author":1568,"museum":104,"description":1984,"tags":1985,"thumbUrl":1986,"material":38,"size":38,"collection":38,"collections":1987,"showCount":82,"zanCount":11,"manualWeight":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疏朗，与画面淡远的色调浑然相融。全作用笔朴拙简淡，未以繁复皴擦堆叠层次，却将江海交汇的荒远之境，与江防重地的沉凝肃整烘托尽致，把纪实的地理描摹与文人的写意意趣融为一体，是兼具实景价值与审美意韵的小品佳作。",[24,51,29,28,140,71,7,34,31,54,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88f6cc4a23d0081160f45341b41ff9.jpg",[],{"id":2049,"slug":2050,"title":2051,"dynasty":282,"author":2052,"museum":104,"description":2053,"tags":2054,"thumbUrl":2056,"material":38,"size":38,"collection":38,"collections":2057,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":169},234674,"gu-yun-xing-hua-you-qi-shan-mian-gu-yun-234674","顾沄杏花游骑扇面","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。",[24,25,577,51,29,54,34,2055,52,7],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0231631c11e918ba33be85cb1e7065d.jpg",[],{"id":2059,"slug":2060,"title":2061,"dynasty":18,"author":347,"museum":104,"description":1802,"tags":2062,"thumbUrl":2063,"material":38,"size":38,"collection":38,"collections":2064,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":42},227360,"zhan-dao-heng-lv-tu-ye-yi-ming-227360","栈道行旅图页",[70,24,23,25,220,51,29,7,54,34,108,30,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":2066,"slug":2067,"title":2068,"dynasty":18,"author":878,"museum":20,"description":2069,"tags":2070,"thumbUrl":2072,"material":57,"size":2073,"collection":38,"collections":2074,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":42},218159,"wen-ji-gui-han-tu-ce-4-li-tang-218159","文姬归汉图册-4","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[23,24,140,51,54,34,1172,7,177,696,127,2071],"离别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f8a8e22c1eebe23d50aa2074d4ab61.jpg","50.7x39.7",[],{"id":2076,"slug":2077,"title":2078,"dynasty":18,"author":878,"museum":20,"description":2069,"tags":2079,"thumbUrl":2080,"material":57,"size":2073,"collection":38,"collections":2081,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":42},218157,"wen-ji-gui-han-tu-ce-6-li-tang-218157","文姬归汉图册-6",[23,24,25,140,51,54,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6eccbd62ae265216ef54a0c247f2dd.jpg",[],{"id":2083,"slug":2084,"title":2085,"dynasty":120,"author":2086,"museum":104,"description":2087,"tags":2088,"thumbUrl":2090,"material":165,"size":38,"collection":38,"collections":2091,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":115},217192,"shui-hu-quan-tu-1-du-jin-217192","水浒全图-1","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[24,25,140,125,496,51,54,55,34,2089,1103,29,71,7,142,1000],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262a05366f8cae91236b34689ff2ac4d.jpg",[],{"id":2093,"slug":2094,"title":2095,"dynasty":282,"author":2096,"museum":217,"description":2097,"tags":2098,"thumbUrl":2099,"material":745,"size":2100,"collection":38,"collections":2101,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":169},214715,"shan-shui-ce-3-gao-xiang-214715","山水册-3","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[24,25,27,140,28,29,34,7,52,126,336,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ff0a5ba972a4352c5e493ca9b6bb2e.jpg","纵23.9 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