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，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[53,24,25,26,27,29,182,31,95,7,36,28],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":187,"slug":188,"title":189,"dynasty":18,"author":190,"museum":191,"description":192,"tags":193,"thumbUrl":197,"material":38,"size":198,"collection":199,"collections":200,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":62},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","安徽省博物馆","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[23,24,25,26,27,28,194,29,7,195,196,31,35],"临摹","远山","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6","水墨画精选",[199],56,{"id":203,"slug":204,"title":205,"dynasty":89,"author":206,"museum":207,"description":208,"tags":209,"thumbUrl":213,"material":214,"size":215,"collection":154,"collections":216,"showCount":201,"zanCount":157,"manualWeight":11,"mainColor":62},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","台北故宫博物院","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[23,24,53,210,54,145,146,7,211,212],"扇面","鸟","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","绢本,设色","24.7x26.1cm",[154],{"id":218,"slug":219,"title":220,"dynasty":221,"author":222,"museum":50,"description":223,"tags":224,"thumbUrl":230,"material":59,"size":59,"collection":154,"collections":231,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":44},237577,"bai-xian-zhou-wang-wei-lie-237577","白鹇轴","明","王维烈","王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,146,145,26,54,225,226,227,30,148,228,229,7],"白鹇","松树","竹子","水仙","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a3695a1f1f05cfc401f1714fd482ef.jpg",[154,232],"设色画精选",{"id":234,"slug":235,"title":236,"dynasty":221,"author":237,"museum":207,"description":238,"tags":239,"thumbUrl":247,"material":38,"size":248,"collection":40,"collections":249,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":62},214729,"shan-shui-tu-qian-gu-214729","山水图","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,25,26,27,28,240,36,29,30,34,33,226,241,242,32,243,244,245,116,7,246],"题字","山峰","小径","山路","林间","峭壁","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[40],{"id":251,"slug":252,"title":253,"dynasty":89,"author":254,"museum":50,"description":255,"tags":256,"thumbUrl":260,"material":57,"size":58,"collection":59,"collections":261,"showCount":262,"zanCount":157,"manualWeight":11,"mainColor":44},290487,"xi-yan-mu-se-tu-guan-tong-290487","西岩暮色图","关仝","关仝（约907-960年），字号不详，京兆长安（陕西西安）人。五代时期杰出画家，与荆浩、董源、巨然并称“四大山水画家”。\n荆浩的追随者，活跃于五代末及宋初，他刻苦认真地揣摩钻研静好的艺术，甚至达到了废寝忘食的地步，最后终于青出于蓝胜于蓝。他多描绘关陕一带山水，写景绘形更为概括提炼，笔简气壮，景少意长，予人以深刻印象。关仝善画秋山，寒林，村居，野渡等景色，使人看后如身临其境。",[23,24,210,27,29,257,258,7,76,28,259],"暮色","崖壁","幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13765a3465f65baf21947eedfd03376f.jpg",[],47,{"id":264,"slug":265,"title":266,"dynasty":67,"author":267,"museum":207,"description":268,"tags":269,"thumbUrl":272,"material":214,"size":273,"collection":274,"collections":275,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":62},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","易元吉","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,24,53,145,27,146,7,270,30,271,34],"猿猴","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4","宋画精选",[274],46,{"id":278,"slug":279,"title":280,"dynasty":221,"author":281,"museum":282,"description":283,"tags":284,"thumbUrl":290,"material":214,"size":291,"collection":40,"collections":292,"showCount":293,"zanCount":157,"manualWeight":11,"mainColor":44},220036,"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","旅顺博物馆","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[23,24,53,27,29,26,95,31,7,30,113,285,286,287,28,288,289],"深山","书法","摹古","宗教","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[40],43,{"id":295,"slug":296,"title":297,"dynasty":18,"author":298,"museum":299,"description":300,"tags":301,"thumbUrl":308,"material":38,"size":309,"collection":310,"collections":311,"showCount":312,"zanCount":11,"manualWeight":11,"mainColor":62},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","罗聘","大英博物馆","苍松虬劲，藤蔓垂丝，幽涧边两位长衫文人对坐清谈——或拄杖凝思，或持卷浅笑，眉宇间尽是林下风致。画面以淡墨皴染山水，线条简练却神形兼备，松针的挺劲、衣袂的飘举皆见笔力。四周密布的题跋，墨色浓淡相间，与山水人物相映成趣，既是对画中人物的追慕，也为画面增添了厚重的文化底蕴。整幅作品融山水、人物、书法于一体，既展现了文人雅集的闲适氛围，也传递出对先辈的敬仰之情，笔意间流淌着传统文人画的气韵与风骨，仿佛能听见松风里的清谈声，望见涧水边的诗思流转。",[23,27,302,145,28,303,226,78,30,115,304,7,242,29,305,306,34,307],"白描","书画结合","藤蔓","题跋","文人形象","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6","人物画精选",[310],39,{"id":314,"slug":315,"title":316,"dynasty":178,"author":317,"museum":50,"description":318,"tags":319,"thumbUrl":327,"material":57,"size":58,"collection":59,"collections":328,"showCount":329,"zanCount":157,"manualWeight":11,"mainColor":44},287336,"shi-ba-xue-shi-ju-hui-tu-juan-qian-xuan-287336","十八学士聚会图卷","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,53,24,93,146,78,145,320,321,7,322,323,168,324,96,325,326],"园林","竹林","仙鹤","马匹","聚会","文人","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d57a33c5bf1c2de793373e80b8ac2ee.jpg",[],36,{"id":331,"slug":332,"title":333,"dynasty":18,"author":334,"museum":191,"description":335,"tags":336,"thumbUrl":337,"material":338,"size":339,"collection":40,"collections":340,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":62},224253,"gu-mu-yuan-shan-tu-cha-shi-biao-224253","古木远山图","查士标","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,27,29,26,7,195,35,28,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbbb93b849c20f73993df993353af8.jpg","纸本，水墨","47.7x108.8cm",[40],{"id":342,"slug":343,"title":344,"dynasty":221,"author":345,"museum":50,"description":346,"tags":347,"thumbUrl":350,"material":57,"size":58,"collection":59,"collections":351,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":44},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","宋旭","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,53,24,25,93,29,27,28,348,32,7,96,349,286,36],"山峦","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],33,{"id":354,"slug":355,"title":356,"dynasty":18,"author":19,"museum":50,"description":357,"tags":358,"thumbUrl":359,"material":57,"size":58,"collection":59,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":44},288212,"gu-mu-chui-yin-shen-se-shi-tao-288212","古木垂荫（深色）","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。",[23,53,24,25,26,27,146,29,7,30,31,33,95,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8a7850faaf974bb88b01aee62393cc.jpg",[],29,{"id":363,"slug":364,"title":365,"dynasty":221,"author":366,"museum":50,"description":367,"tags":368,"thumbUrl":369,"material":59,"size":59,"collection":59,"collections":370,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":62},228873,"gu-mu-han-quan-wen-zheng-ming-228873","古木寒泉","文徴明","此作用笔清瘦秀雅，枯荣相生的古木虬曲苍劲，或秃枝嶙峋尽显风霜，或残叶攒簇尚存生机。寒泉在乱石间蜿蜒穿绕，浅滩洄波皆以细笔勾勒，淡墨晕染开空寂萧疏的秋意。\n画面兼工带写，以劲挺线条刻画枝干石纹，墨点攒簇为叶，将幽寂林泉化作澹泊丘壑，题诗与画境呼应，把沉静心绪寄寓其中，尽显文人画以景抒怀的清雅意趣。",[23,24,27,26,28,286,36,29,196,31,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fbd293a709812c7a0bf8b31c0bea29a.jpg",[],25,{"id":373,"slug":374,"title":375,"dynasty":221,"author":376,"museum":207,"description":377,"tags":378,"thumbUrl":381,"material":27,"size":59,"collection":40,"collections":382,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":62},219252,"zhi-zi-hou-men-tu-wang-shi-chang-219252","稚子候门图","王世昌","山峦层叠间云雾轻飏，似给远峰披上薄纱，愈显深幽。近景古木虬枝盘曲，墨色浓淡交错，勾勒出苍劲风骨；岩石以简括皴法写就，纹理毕现。蜿蜒小径上，稚子数人或立或趋，眉眼间满是天真，翘首之态似在盼归人，那份纯粹的期盼，在清寂山水中晕开暖意。画作以水墨衬淡彩，山水的空灵与人间温情相映，既承继明代山水的雅致气韵，又以人物点染出生活鲜活，于无声处传递亲情的柔软，观之如临其境，心生动容。",[23,24,27,146,29,78,7,182,242,348,32,379,380,28],"盼归","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92016fc192d1615fd58bffc960f15b69.jpg",[40],{"id":384,"slug":385,"title":386,"dynasty":178,"author":387,"museum":50,"description":388,"tags":389,"thumbUrl":397,"material":214,"size":59,"collection":310,"collections":398,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":44},218358,"suo-jian-tu-yi-ming-218358","锁谏图","佚名","虬枝古木掩映着一方天地，人物群像在此铺陈开叙事脉络。居中者端坐，气度沉稳；两侧侍从垂立，神色恭谨；阶下数人或躬身作礼，或捧持器物，动态间藏着故事张力。衣纹线条婉转流畅，勾勒出古雅服饰肌理；树木枝叶繁密却层次分明，笔墨细腻中见苍劲质感。画面氛围沉静，却在人物互动里暗涌肃穆与忠直——似是忠臣锁颈进谏的决绝时刻，又或是那份以死明志的忠义风骨？绢素斑驳痕迹更添历史厚重，观者于笔墨间，可感知往昔精神与温度。",[53,24,390,391,145,146,7,392,393,394,395,396],"人物画","历史画","庭院","进谏","忠直","忠义","肃穆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce3f2e9141154588e10794b0936bb7d.jpg",[310],{"id":400,"slug":401,"title":402,"dynasty":18,"author":403,"museum":69,"description":404,"tags":405,"thumbUrl":406,"material":59,"size":59,"collection":40,"collections":407,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":408},201845,"song-he-ming-quan-tu-zhou-wang-hui-201845","松壑鸣泉图轴","王翚","画面以松壑泉流为韵，苍松虬枝盘曲，松针细密如织，尽显古木之劲。山石用皴法层层皴染，纹理错杂，与轻烟淡雾交织，铺展深远空间。泉声隐于山间，似潺潺入耳，添灵动之趣。近景林木葱郁，中景山峦叠嶂，远景云雾缥缈，层次分明。笔墨融南北宗精髓，雄浑与秀逸兼具，气韵生动，静中藏生机，尽展传统山水的笔墨意趣与自然灵韵。",[29,28,27,26,7,348,32,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7da25015fde549641720d4a3fb365f1.jpg",[40],"917257",{"id":410,"slug":411,"title":412,"dynasty":18,"author":403,"museum":50,"description":413,"tags":414,"thumbUrl":417,"material":59,"size":59,"collection":59,"collections":418,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":62},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,25,415,27,28,194,29,416,196,35,182,307,34,7,36],"册","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],24,{"id":421,"slug":422,"title":423,"dynasty":221,"author":424,"museum":282,"description":425,"tags":426,"thumbUrl":427,"material":428,"size":429,"collection":59,"collections":430,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":62},232642,"shan-shui-gu-mu-tu-lan-ying-232642","山水古木图","蓝瑛","高峰，杂林连绵，古木，矶石屋宇杨柳平坡，湖光山色边，春意盎然。有人湖 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