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生长着木叶尽脱的寒树。此画取景集中，以枯树、石碑和人物构成画面的主体，颇有荒寒冷寂的气氛。树枝以细线勾勒，再用墨染，枝干皆作“蟹爪”状，纵横交错，有苍劲之感。坡石为侧笔所绘的圆润而少有皴擦的线条构成，此为后世称之的“卷云皴”。枯树与石碑的组合，强化了幽凄惨澹的环境气氛，暗示出对遥远历史中那辉煌繁华往事的追忆。",[23,24,25,26,27,28,29,30,31,7,32],"名画","国画","水墨","山水","枯树","孤石","人物","皴法","荒寒","读碑","未知","Xcm*Xcm","",[],435,4,"795548",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":53,"material":33,"size":34,"collection":35,"collections":54,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":56},288504,"jing-xin-zhu-da-288504","镜心","清","朱耷","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 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，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[23,24,49,152,25,153,52,27,154,28,26,7],"立轴","书法","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d7e6387dfc02f12dc56969477fdceb.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":18,"author":161,"museum":20,"description":162,"tags":163,"thumbUrl":165,"material":33,"size":34,"collection":35,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":39},289957,"xue-jing-shan-shui-ye-liang-kai-289957","雪景山水页","梁楷","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[24,23,119,25,30,26,164,27,72,7],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626a1cd836e0e08dc4762048b518eb9f.jpg",[],43,{"id":169,"slug":170,"title":171,"dynasty":18,"author":172,"museum":20,"description":173,"tags":174,"thumbUrl":177,"material":33,"size":34,"collection":35,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":39},288292,"ju-bei-yao-yue-tu-ma-yuan-288292","举杯邀月图","马远","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[48,24,23,66,25,91,27,175,138,29,176,7,52,30],"山石","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409082f07a0fc539c1e85e8ea35c4634.jpg",[],37,{"id":181,"slug":182,"title":183,"dynasty":18,"author":172,"museum":20,"description":184,"tags":185,"thumbUrl":187,"material":33,"size":34,"collection":35,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":39},288426,"han-jiang-du-diao-tu-ma-yuan-288426","寒江独釣图","这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[24,25,72,29,73,186,7],"独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed6df7d4209c5b65a13d7a554ad54bc.jpg",[],32,{"id":191,"slug":192,"title":193,"dynasty":44,"author":45,"museum":20,"description":46,"tags":194,"thumbUrl":197,"material":33,"size":34,"collection":35,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":56},288451,"shui-tun-tu-zhu-da-288451","水屯图",[48,24,25,66,95,195,92,196,72,52,30,153,7],"水面","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9cc6b0b8316ab2fb517885000a51ce.jpg",[],31,{"id":201,"slug":202,"title":203,"dynasty":44,"author":204,"museum":20,"description":205,"tags":206,"thumbUrl":210,"material":33,"size":34,"collection":35,"collections":211,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":56},289909,"ye-se-ce-ye-shi-tao-289909","野色册页","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，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，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。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。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,207,52,153,26,208,27,209,29,28,7],"册页","飞鸟","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406cac18541976b3f7edf604d75728e4.jpg",[],29,{"id":214,"slug":215,"title":216,"dynasty":61,"author":217,"museum":20,"description":218,"tags":219,"thumbUrl":223,"material":33,"size":34,"collection":79,"collections":224,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":56},287451,"mo-gu-ce-ye-chen-hong-shou-287451","摹古册页","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,207,25,26,139,220,221,52,153,222,30,7],"孤山","枯木","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64eebb7edbcb8537c7f5ef1326afd6bb.jpg",[79],{"id":226,"slug":227,"title":228,"dynasty":18,"author":229,"museum":20,"description":230,"tags":231,"thumbUrl":238,"material":33,"size":34,"collection":35,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":39},289838,"lu-ting-mi-xue-tu-liang-shi-min-289838","芦汀密雪图","梁师闵","描绘的是密雪覆盖着沙清丘岸的芦塘小景，将空旷清幽景象与漫天密雪的景色形成对比，是一幅山水与花鸟融汇的湖天小景佳作。",[48,23,24,49,232,91,135,26,233,234,235,236,164,237,7,52,153],"长卷","芦汀","寒树","鸥鹭","江水","寒冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e108e0525ede8d74ace20844b3898c.jpg",[],26,{"id":242,"slug":243,"title":244,"dynasty":18,"author":161,"museum":20,"description":162,"tags":245,"thumbUrl":249,"material":33,"size":34,"collection":35,"collections":250,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":56},289373,"ze-pan-xing-yin-tu-liang-kai-289373","泽畔行吟图",[119,24,25,26,72,29,7,246,247,248],"行吟","水岸","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0eebe565286429967e39cefabcf52c2.jpg",[],{"id":252,"slug":2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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,49,258,25,26,92,175,29,153,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b35e573c86fcfea5df386d13312a7e.jpg",[],24,{"id":263,"slug":264,"title":265,"dynasty":18,"author":88,"museum":20,"description":89,"tags":266,"thumbUrl":267,"material":33,"size":34,"collection":35,"collections":268,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":39},289729,"dai-du-tu-guo-xi-289729","待渡图",[24,23,66,27,72,164,67,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46443a087c5a90d3ffc116ed0cd1d89d.jpg",[],22,{"id":271,"slug":272,"title":273,"dynasty":18,"author":274,"museum":20,"description":275,"tags":276,"thumbUrl":278,"material":33,"size":34,"collection":35,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":56},290485,"han-jiang-diao-xue-tu-fan-kuan-290485","寒江钓雪图","范宽","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。",[24,119,25,30,26,164,73,72,92,277,7],"渔钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940c5adbd17c34e372b298c7f48423e2.jpg",[],20,{"id":282,"slug":283,"title":284,"dynasty":18,"author":116,"museum":20,"description":117,"tags":285,"thumbUrl":286,"material":33,"size":34,"collection":35,"collections":287,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":39},289990,"shan-shui-tu-ye-xia-gui-289990","山水图页",[48,23,24,119,25,26,92,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca8ec620d14fc0e687f98471d94603b.jpg",[],{"id":289,"slug":290,"title":291,"dynasty":18,"author":292,"museum":20,"description":293,"tags":294,"thumbUrl":299,"material":33,"size":34,"collection":35,"collections":300,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":301},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。",[24,66,295,164,296,297,298,30,7],"界画","古道","盘车","寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ef6c19adfe76479308d9fbb3dab52f.jpg",[],"37474F",{"id":303,"slug":304,"title":305,"dynasty":18,"author":306,"museum":20,"description":307,"tags":308,"thumbUrl":311,"material":33,"size":34,"collection":35,"collections":312,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":39},289327,"shui-mo-gu-ting-tu-li-song-289327","水末孤亭图","李嵩","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[48,119,24,66,75,309,29,310,247,25,30,7],"流水","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F044dd4c6f19319af7bf49dcf1dfd5a75.jpg",[],18,{"id":315,"slug":316,"title":317,"dynasty":18,"author":318,"museum":20,"description":319,"tags":320,"thumbUrl":324,"material":33,"size":34,"collection":35,"collections":325,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":56},288962,"jun-gu-tu-gong-kai-288962","骏骨图","龚开","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人。",[23,24,49,25,321,322,323,52,153,7],"白描","马","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d4572c7967b6ea59fd60add1018fb5.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":18,"author":161,"museum":20,"description":162,"tags":330,"thumbUrl":333,"material":33,"size":34,"collection":35,"collections":334,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":39},289455,"dai-xue-gui-yu-tu-liang-kai-289455","戴雪归渔图",[24,119,25,26,92,208,331,164,332,7],"蓑笠","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b8b1f2538144ea090b404283cfbe23.jpg",[],17,{"id":337,"slug":338,"title":339,"dynasty":131,"author":132,"museum":20,"description":133,"tags":340,"thumbUrl":341,"material":33,"size":34,"collection":35,"collections":342,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":39},290407,"han-jiang-zhou-du-tu-yi-ming-290407","寒江舟渡图",[119,24,23,25,221,72,29,73,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428e029d3b90aa7f47de3dfb66758d4e.jpg",[],10,{"id":345,"slug":346,"title":347,"dynasty":131,"author":132,"museum":348,"description":349,"t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