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常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[239,24,27,29,240,7,162,241,242,243,28],"扇面","山峦","渔人","疾风","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc829033f8e29113ad506ff1513a0ed9.jpg",[],50,{"id":248,"slug":249,"title":250,"dynasty":18,"author":251,"museum":71,"description":252,"tags":253,"thumbUrl":259,"material":36,"size":80,"collection":38,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":42},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[50,23,24,92,93,254,74,29,95,163,7,255,256,257,258],"青绿","远山","亭台","佛塔","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],39,{"id":263,"slug":264,"title":265,"dynasty":112,"author":89,"museum":20,"description":266,"tags":267,"thumbUrl":280,"material":74,"size":281,"collection":105,"collections":282,"showCount":283,"zanCount":11,"manualWeight":11,"mainColor":42},221779,"ma-gu-xian-shou-zhou-yi-ming-221779","麻姑献寿轴","麻姑为长生不老的女仙代表。关于她的来历，最通行的说法是神仙传的记载，云东汉桓帝时，仙人王方平降蔡经家，召麻姑至，年十八九，容貌秀美，自言已饱阅沧海桑田变幻。后世常以麻姑献寿的题材来为妇女祝寿。\n该幅绘松石流泉间，捧仙桃之麻姑与方平对坐论道，侍者环立。人物造型高古奇拙，衣纹森森然若折铁，水波与花木的画法颇有装饰意趣，虽题为元人，应出自追随晚明陈洪绶之风的后人。",[50,24,26,74,75,53,57,31,30,76,268,7,269,270,271,272,273,274,275,276,277,278,279],"祝寿","花草","场景","人物互动","传统服饰","自然景观","设色古雅","工笔细腻","人物群像","山林","路径","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8827dfc45cdcb3684c926ba84a1afd9a.jpg","该幅 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87.4公分",[105,169],38,{"id":285,"slug":286,"title":287,"dynasty":112,"author":288,"museum":20,"description":289,"tags":290,"thumbUrl":292,"material":103,"size":293,"collection":294,"collections":295,"showCount":296,"zanCount":64,"manualWeight":11,"mainColor":84},218668,"cang-ya-gu-shu-tu-chen-lin-218668","苍崖古树图","陈琳","这幅画描绘了一条河的两岸，笔触简单而清晰。较早的记录显示，这是一位无名的元代画家的作品，但结合顾瑛的题词和两个残存的印章来看，这是赵孟頫的弟子陈琳的作品。",[50,24,25,27,28,291,29,7,77,148],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382f50b644095d01a6b64f045370d65f.jpg","31.2x47.4cm","花鸟画精选",[294],36,{"id":298,"slug":299,"title":300,"dynasty":112,"author":301,"museum":71,"description":302,"tags":303,"thumbUrl":305,"material":36,"size":80,"collection":38,"collections":306,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":42},290232,"lin-lu-you-ju-tu-wang-meng-290232","林麓幽居图","王蒙","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,25,26,27,29,304,7,30,148,28],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1b5b748d9e5ba249d2eb08e33814.jpg",[],35,{"id":309,"slug":310,"title":311,"dynasty":18,"author":312,"museum":71,"description":313,"tags":314,"thumbUrl":316,"material":36,"size":80,"collection":38,"collections":317,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":42},289593,"hao-liang-qiu-shui-tu-li-tang-289593","濠梁秋水图","李唐","描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。",[50,24,23,92,27,52,28,31,30,7,53,315],"观水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff100ffd5335783d2d72685d2283a1273.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":18,"author":322,"museum":323,"description":324,"tags":325,"thumbUrl":327,"material":121,"size":328,"collection":38,"collections":329,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":42},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","周季常","美国弗瑞尔美术馆","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[24,26,116,75,74,53,29,326,32,30,7],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],{"id":331,"slug":332,"title":333,"dynasty":334,"author":89,"museum":20,"description":335,"tags":336,"thumbUrl":339,"material":36,"size":80,"collection":38,"collections":340,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":42},290022,"tang-ren-chun-jiao-you-qi-tu-yi-ming-290022","唐人春郊游骑图","唐","画幅中间一人上身呈正面，穿著与其他六人不同，应是画中的主人。前二人引导，后四人有的拿弓，有的拿毬棍，有的挟著琴，有的背酒，前顾后盼，各有神态。树叶双钩填彩，岩石、流水和激湍都是仿古的钩勒法，有装饰的意味。背景树石的构图和院藏另一件传为韩干《猿马图》相似，不过笔墨稍逊，可能出自同一幅稿本。",[24,23,74,53,34,337,338,7,30,29],"春郊","郊游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fdd4af9015b51a1635e29ed3f1d75b9.jpg",[],33,{"id":343,"slug":344,"title":345,"dynasty":69,"author":346,"museum":20,"description":347,"tags":348,"thumbUrl":350,"material":351,"size":38,"collection":61,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":84},237384,"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","王翚","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王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,23,349,27,28,29,53,7,30,256,55],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg","纸本",[61],31,{"id":355,"slug":356,"title":357,"dynasty":69,"author":358,"museum":359,"description":360,"tags":361,"thumbUrl":366,"material":121,"size":367,"collection":38,"collections":368,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":42},223013,"hong-lou-meng-138-sun-wen-223013","红楼梦138","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[50,24,75,74,93,53,76,95,96,7,362,363,364,365],"盆栽","宴饮","园林","红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94fa31ab783364ada8a4dabfa58909e.jpg","纵43.3厘米、横76.5厘米",[],{"id":370,"slug":371,"title":372,"dynasty":207,"author":373,"museum":20,"description":374,"tags":375,"thumbUrl":382,"material":135,"size":383,"collection":61,"collections":384,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":386},283644,"guan-pu-tu-tang-yin-283644","观瀑图","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,27,26,52,376,30,7,31,377,378,379,380,28,381,78],"观瀑","云雾","崖岸","文人","闲适","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg","103.6x30.3",[61],30,"F48FB1",{"id":388,"slug":389,"title":390,"dynasty":207,"author":391,"museum":71,"description":392,"tags":393,"thumbUrl":399,"material":36,"size":80,"collection":38,"collections":400,"showCount":401,"zanCount":402,"manualWeight":11,"mainColor":42},290906,"wan-gu-tu-zhou-du-jin-290906","玩古图轴","杜堇","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人。",[24,211,74,75,96,394,7,395,396,397,398,98],"芭蕉","奇石","文人雅集","古器物","侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382289af8e8767fd4473a6a6db0bad25.jpg",[],29,3,{"id":404,"slug":405,"title":406,"dynasty":112,"author":407,"museum":158,"description":408,"tags":409,"thumbUrl":414,"material":415,"size":416,"collection":294,"collections":417,"showCount":418,"zanCount":11,"manualWeight":11,"mainColor":42},221822,"ying-gui-tu-zhang-shun-zi-221822","鹰桧图","张舜咨","此图是由雪界翁、张师夔两位画家合作绘制而成。图绘山石间一株古桧，枝干挺劲，枯枝与新叶相映成趣。老干横斜，一只苍鹰昂首挺立其上，双目炯然，脚爪锋利，紧抓树枝，给人以坚如磐石、临危不惧之感。图中苍鹰以工笔重彩法写出，刻画细腻，笔笔精到，具有宋代院体花鸟画遗风。古桧山石完全用写意风格的画法，出自张舜咨手笔，画风略显粗犷，然颇具气势。苍鹰与山石、古桧虽出自不同人的手笔，但配合默契，毫无突兀、不协调之感，极具特色。",[50,24,23,25,26,74,75,410,411,7,412,77,413],"鹰","桧树","枯枝","丛草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f781d4069309ad9530fe25a1c35bbcd.jpg","绢本，设色","纵147.3厘米，横96.8厘米",[294,231],28,{"id":420,"slug":421,"title":422,"dynasty":207,"author":373,"museum":20,"description":423,"tags":424,"thumbUrl":426,"material":36,"size":80,"collection":38,"collections":427,"showCount":428,"zanCount":83,"manualWeight":11,"mainColor":42},290844,"ceng-yan-ce-zhang-tu-zhou-tang-yin-290844","层岩策杖图轴","此幅画烟霄拔嶂，悬泉直泻而下，层台水榭，一高士策杖山径闲步，远山山脚云气迷漫，山石以斧劈斫趯，劲利潇洒。",[24,23,26,52,74,28,53,95,163,31,30,7,94,78,381,425],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa273597b9f2b63139eac163b3030ad48.jpg",[],27,{"id":430,"slug":431,"title":300,"dynasty":112,"author":301,"museum":71,"description":302,"tags":432,"thumbUrl":433,"material":36,"size":80,"collection":38,"collections":434,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":84},290254,"lin-lu-you-ju-tu-wang-meng-290254",[23,24,25,26,27,74,29,7,30,304,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f8b8d31f1f29b8340c8fa3143b7ce68.jpg",[],26,{"id":437,"slug":438,"title":439,"dynasty":18,"author":312,"museum":71,"description":440,"tags":441,"thumbUrl":445,"material":36,"size":80,"collection":38,"collections":446,"showCount":447,"zanCount":11,"manualWeight":11,"mainColor":84},289592,"qiu-tang-ke-hua-tu-li-tang-289592","秋堂客话图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[50,23,24,27,53,7,442,29,443,381,444,78],"厅堂","秋景","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa79bcac3d55cf0b2f8dd57920cedcd6.jpg",[],23,{"id":449,"slug":450,"title":451,"dynasty":18,"author":452,"museum":71,"description":453,"tags":454,"thumbUrl":457,"material":36,"size":80,"collection":38,"collections":458,"showCount":459,"zanCount":83,"manualWeight":11,"mainColor":42},290269,"luo-han-tu-li-song-290269","罗汉图","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。",[24,23,26,116,53,74,213,455,7,30,456],"沙弥","佛具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4174ab2954aab1bfbc0e7ca2c411926f.jpg",[],22,{"id":461,"slug":462,"title":463,"dynasty":18,"author":89,"museum":71,"description":464,"tags":465,"thumbUrl":467,"material":36,"size":80,"collection":38,"collections":468,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":42},289958,"he-ting-xiao-xia-tu-yi-ming-289958","荷亭消夏图","以淡墨晕染远山，将夏意空濛铺陈开来，水汽裹挟着氤氲绿意浸满绢素。近岸古松虬劲苍郁，枝桠斜探如擎盖，为画面撑起沉稳骨架。临水亭台飞檐翘角，静立在松荫柳色间，似将溽暑隔绝在外，只留一襟荷风、满耳蝉鸣。\n\n笔墨简淡清润，山石以淡赭晕染兼短笔皴擦，写出夏山的温润松软；柳树以湿笔点叶，带着雨后的鲜灵润泽。留白处恍若十里平湖，虚渺间让观画人恍可涉水凭栏，偷取半日幽凉。整幅画未刻意描摹夏景喧嚣，只以亭台松柳、烟水云山，把夏日慵闲散淡揉进笔墨里，藏着宋人雅致从容，一帧小景盛满江南盛夏清寂诗意。",[23,24,52,93,27,74,94,95,7,29,466,380,28,78],"夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc18535677b22b77b6786af0a3a74489.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":112,"author":473,"museum":71,"description":474,"tags":475,"thumbUrl":477,"material":36,"size":80,"collection":38,"collections":478,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":84},290252,"da-ming-gong-tu-wang-zhen-peng-290252","大明宫图","王振鹏","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[50,23,24,92,93,117,27,95,476,240,7,256],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9058769fd75a509a044ee8450afee9.jpg",[],21,{"id":481,"slug":482,"title":483,"dynasty":112,"author":89,"museum":71,"description":484,"tags":485,"thumbUrl":490,"material":36,"size":80,"collection":38,"collections":491,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":42},287774,"wen-shu-xi-xiang-tu-yi-ming-287774","文殊洗象图","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[24,116,53,486,487,74,75,488,489,7],"兽","大象","文殊","洗象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f27bba79dc35c1e50182024f305d485.jpg",[],{"id":493,"slug":494,"title":495,"dynasty":207,"author":496,"museum":71,"description":497,"tags":498,"thumbUrl":500,"material":36,"size":80,"collection":38,"collections":501,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":125},287606,"yun-he-gao-yi-tu-li-zhou-yuan-tu-lan-ying-287606","云壑高逸图立轴(原图)","蓝瑛","高山之麓，丘岗片片，山泉淙淙；溪流清鸣，绕贯其中；丛花簇草，竞相吐艳；桃李明艳，繁枝雍雍，像是在奏响的晚春妙曲。林深之处，溪水岸旁，一白衫红裤的老者，在茅亭内候客。亭外木桥上，有一红衣老者，向茅亭走来。",[50,23,24,26,27,52,94,163,31,7,30,53,377,28,499],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96cd84ca765b062920e0b7469166d281.jpg",[],{"id":503,"slug":504,"title":505,"dynasty":207,"author":506,"museum":71,"description":507,"tags":508,"thumbUrl":510,"material":36,"size":80,"collection":38,"collections":511,"showCount":512,"zanCount":11,"manualWeight":11,"mainColor":84},287346,"xuan-wen-jun-shou-jing-tu-zhou-chen-hong-shou-287346","宣文君受经图轴","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》。",[50,24,26,74,53,29,75,7,30,509],"授经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f12a320ccaa2dba818f040040e0b0b0.jpg",[],19,{"id":514,"slug":515,"title":516,"dynasty":69,"author":517,"museum":71,"description":518,"tags":519,"thumbUrl":521,"material":36,"size":80,"collection":38,"collections":522,"showCount":523,"zanCount":11,"manualWeight":11,"mainColor":84},290424,"ke-ru-qing-tong-gen-ru-shi-tu-zhou-wu-chang-shuo-290424","柯如青桐根如石图轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[50,24,25,26,27,74,77,7,520,381,78],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe41d1300ae2de9120a26555f2abfb69.jpg",[],18,{"id":525,"slug":526,"title":527,"dynasty":207,"author":528,"museum":158,"description":529,"tags":530,"thumbUrl":531,"material":415,"size":532,"collection":38,"collections":533,"showCount":523,"zanCount":11,"manualWeight":11,"mainColor":42},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","倪端","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,25,26,74,29,53,34,7,30,33,75,28,57,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":535,"slug":536,"title":537,"dynasty":18,"author":89,"museum":20,"description":538,"tags":539,"thumbUrl":550,"material":103,"size":551,"collection":61,"collections":552,"showCount":523,"zanCount":11,"manualWeight":11,"mainColor":84},219616,"hu-xi-san-xiao-tu-yi-ming-219616","虎溪三笑图","此图为横幅，绢本设色。构图饱满，刻画细腻，粗笔阔墨的坡石与细笔双勾的枝叶彼此映照。古拙的青石板桥下的溪流并无涓涓之态，而是浩荡冲决，远逝于云天相接处，似衬托“虎威”。老干如虬，红叶弥漫，一派肃穆高秋景致。画中央正是身着袈裟的慧远、儒服的陶渊明和道装的陆修静，三人举头朗笑，衣袂飘扬，情态鲜活，两侧三小童站立，画中人物风格似宋人笔意。这幅作品恰将儒、释、道合流的深邃神旨以“三笑”镜头的绘制形象地传达出来，爽朗、悠远的笑声仿佛与虎溪激越的水声、老枫呼啸的风声猝然交响，也穿越了千年的风烟，飘逸于画卷之外，令观画者心府泠然、似有所闻。细读这幅作品会发觉，在图像生成上，画家几乎绘制出了“虎溪三笑”这一故事的全部文献元素，包括人物、情节、环境等，可视为这一画题的最典型作品。",[50,24,23,121,74,540,211,52,116,541,542,7,543,544,545,546,547,75,548,549],"横幅","儒释道","虎溪三笑","红叶","溪流","童子","高秋","朗笑","粗笔","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e773211cdf84d6f21581f9695a2a5b.jpg","26.4x47.6厘米",[61],{"id":554,"slug":555,"title":556,"dynasty":69,"author":346,"museum":557,"description":558,"tags":559,"thumbUrl":565,"material":566,"size":567,"collection":38,"collections":568,"showCount":523,"zanCount":11,"manualWeight":11,"mainColor":84},217206,"fang-gu-shan-shui-shi-er-kai-shi-er-wang-hui-217206","仿古山水十二开(十二)","大英博物馆","此册王翚仿古十二开",[24,27,28,291,29,560,57,561,34,53,562,94,55,240,563,7,255,278,564],"房屋","山路","枯树","民居","骑乘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a21745ec4cca633de1562020ea6baee.jpg","纸本,设色","25x35.4cm",[],{"id":570,"slug":571,"title":572,"dynasty":207,"author":573,"museum":71,"description":574,"tags":575,"thumbUrl":578,"material":36,"size":579,"collection":38,"collections":580,"showCount":581,"zanCount":11,"manualWeight":11,"mainColor":42},290974,"luo-han-zhou-dai-jin-290974","罗汉轴","戴进","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,24,25,26,116,27,53,213,576,7,577,30],"虎","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8803ccea802c306ac1ab099a6a43826.jpg","113.9x36.7",[],15,{"id":583,"slug":584,"title":585,"dynasty":207,"author":89,"museum":71,"description":586,"tags":587,"thumbUrl":589,"material":36,"size":80,"collection":38,"collections":590,"showCount":581,"zanCount":11,"manualWeight":11,"mainColor":42},287952,"fang-li-tang-hao-pu-tu-juan-yi-ming-287952","仿李唐濠濮图卷","此作用笔追摹北宗风骨，取景溪山幽隅。左岸危岩崚嶒，古木盘根错结于石罅，虬曲苍劲，枝叶攒簇如盖；右岸林樾荫蔽，二雅士临流趺坐，静听溪声、观览山光。\n山石以斧劈皴挥写，方硬利落，尽显岩壑沉厚质感；水纹细劲萦回，状摹出溪涧清浅潺湲之态。整幅以古雅底色衬出林泉幽寂，将文人寄情山水的闲淡襟怀，融于雄健笔墨之中，萧散出尘，兼具雄浑骨力与幽远意境。",[50,24,92,52,74,28,30,544,7,379,588],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f11da397377cad1cc1e22134625497e.jpg",[],{"id":592,"slug":593,"title":594,"dynasty":69,"author":595,"museum":71,"description":596,"tags":597,"thumbUrl":598,"material":36,"size":80,"collection":38,"collections":599,"showCount":600,"zanCount":83,"manualWeight":11,"mainColor":84},287448,"tai-gu-yun-lan-tu-zou-yi-gui-287448","太古云岚图","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,23,25,26,29,27,74,240,377,7,560,163,31,78,381,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef4e4eaf1fc1e2699370d3d8e8973ac.jpg",[],14,{"id":602,"slug":603,"title":604,"dynasty":207,"author":605,"museum":71,"description":606,"tags":607,"thumbUrl":608,"material":38,"size":38,"collection":38,"collections":609,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":42},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","文徴明","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[50,24,25,29,74,28,7,178,30,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg",[],{"id":611,"slug":612,"title":613,"dynasty":69,"author":346,"museum":71,"description":614,"tags":615,"thumbUrl":617,"material":36,"size":80,"collection":38,"collections":618,"showCount":619,"zanCount":11,"manualWeight":11,"mainColor":84},288501,"fang-fan-kuan-bu-meng-hao-ran-shi-yi-wang-hui-288501","仿范宽补孟浩然诗意","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。”",[24,27,52,217,28,26,29,95,163,31,94,7,377,616,78],"行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c90cd07debb1bad00510702ae5c1bd.jpg",[],10,{"id":621,"slug":622,"title":623,"dynasty":69,"author":624,"museum":625,"description":626,"tags":627,"thumbUrl":630,"material":38,"size":38,"collection":38,"collections":631,"showCount":632,"zanCount":11,"manualWeight":11,"mainColor":633},202361,"lin-shen-zhou-song-bai-tong-chun-tu-juan-zhu-da-202361","临沈周松柏同春图卷","朱耷","上海博物馆","这幅长卷以水墨写意摹绘松柏景致，虬枝如铁线盘结，松针竹叶用简劲笔触点染，墨色浓淡交错间尽显苍劲古拙之态。山石以皴法勾勒肌理，与老木相互呼应，气韵连贯悠长。笔墨既追摹原作神韵，又暗藏独特冷逸风骨，松柏在春日氛围里焕发生机，意境清幽深邃，尽显传统书画的笔墨意趣。",[24,25,92,27,217,628,28,629,7,30,50],"松柏","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74816dbf9fb28da9c57e8057eb13f58.jpg",[],7,"000000",{"id":635,"slug":636,"title":637,"dynasty":112,"author":89,"museum":71,"description":638,"tags":639,"thumbUrl":641,"material":36,"size":80,"collection":38,"collections":642,"showCount":643,"zanCount":11,"manualWeight":11,"mainColor":42},290784,"ying-zhen-xiang-zhou-liu-fu-yi-ming-290784","应真像轴六幅","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。",[24,26,74,53,116,213,7,640,31],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2217d3ff4e9bdb2263ca54eadd0a73f.jpg",[],6,{"id":645,"slug":646,"title":647,"dynasty":648,"author":649,"museum":71,"description":650,"tags":651,"thumbUrl":659,"material":36,"size":80,"collection":38,"collections":660,"showCount":643,"zanCount":11,"manualWeight":11,"mainColor":125},232284,"a-er-ma-11-lao-lun-si-a-er-ma-ta-de-ma-232284","阿尔玛11","不详","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[652,653,7,654,655,656,657,658],"油画","写实","草地","树林","树干","枝叶","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617c34eb2e58635fc64551c8fdccb4d6.jpg",[],{"id":662,"slug":663,"title":664,"dynasty":648,"author":665,"museum":71,"description":666,"tags":667,"thumbUrl":672,"material":36,"size":80,"collection":673,"collections":674,"showCount":643,"zanCount":11,"manualWeight":11,"mainColor":42},225835,"the-road-menders-1889-fan-gao-225835","The Road Menders 1889","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[652,668,669,53,7,670,563,671,74],"后印象派","风景画","街道","户外劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14af2e3da34dd243d54bc2296d18211.jpg","油画精选",[673],{"id":676,"slug":677,"title":678,"dynasty":18,"author":89,"museum":71,"description":679,"tags":680,"thumbUrl":682,"material":36,"size":80,"collection":38,"collections":683,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":42},290243,"shan-lou-yuan-tiao-tu-yi-ming-290243","山楼远眺图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[50,24,239,29,95,7,255,681,74,28],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59f5282e9e32bc6fa6dd8d8e269c0360.jpg",[],5,{"id":686,"slug":687,"title":688,"dynasty":69,"author":689,"museum":71,"description":690,"tags":691,"thumbUrl":693,"material":36,"size":80,"collection":38,"collections":694,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":695},290076,"shan-shui-tu-zhou-wu-zheng-290076","山水图轴","吴徵","吴徵（1878—1949）字待秋，名徵，以字行。别号抱鋗（xuán）居士、疏林仲子、春晖外史、鹭丝湾人、栝苍亭长、晚署老鋗。浙江崇德（今桐乡）人。",[50,24,26,25,27,74,28,29,95,163,31,256,7,30,692,381,78],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c021396dcb8125857cf8d0c83a5324.jpg",[],"FFFFFF",{"id":697,"slug":698,"title":699,"dynasty":648,"author":89,"museum":71,"description":700,"tags":701,"thumbUrl":706,"material":36,"size":80,"collection":38,"collections":707,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":42},289019,"lucas-van-uden-wooded-landscape-with-a-house-by-a-river-yi-ming-289019","Lucas van Uden--Wooded Landscape with a House by a River","前景古木虬曲苍劲，枝桠肆意舒展，细密排线勾勒出斑驳树皮与蓬松叶簇，尽显岁月镌刻的厚重质感。缓坡顺着笔触延绵铺展，错落林木向着远景渐次淡去，朦胧间晕开郊野村落的浅淡轮廓。\n\n蓝底衬出素描线条的柔和层次，明暗交织晕染出清寂的郊野晨氛。留白与疏密笔触交织，铺就出悠远的空气感，仿佛能触到林间湿润的晚风，听见枝桠轻晃的细碎声响。笔触克制却藏着对乡野的细腻体察，将郊野的松弛生机揉入画面，静望便坠入松弛安闲的乡野意趣之中。",[702,669,7,703,704,705],"素描","郊野","林木","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf07d38cfad3ea9f4f00675d497fc595.jpg",[],{"id":709,"slug":710,"title":711,"dynasty":207,"author":712,"museum":625,"description":713,"tags":714,"thumbUrl":716,"material":38,"size":38,"collection":38,"collections":717,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":718},202718,"wan-li-wu-yun-shi-yi-tu-zhou-xie-shi-chen-202718","万里无云诗意图轴","谢时臣","这幅画以淡墨铺陈出清旷月夜之境，远山层叠隐于薄雾，近景古松虬枝盘曲，苍劲有力。木桥横架其间，三人凭栏而立，似共赏万里无云的澄明夜色。亭台掩映于林麓，飞檐与松影相映成趣。笔墨兼工带写，山石以皴法勾勒纹理，树木枝干挺劲，人物衣袂轻扬，神态悠然。整体意境空灵静谧，既展自然山水之幽远，又含文人雅集之清趣，尽显明代文人画的抒情意韵。",[24,25,26,27,74,29,53,94,163,715,148,7,28,75,50],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe484253225520cbfb23237efdabc2f43.jpg",[],"a78973",{"id":720,"slug":721,"title":722,"dynasty":207,"author":723,"museum":625,"description":724,"tags":725,"thumbUrl":726,"material":38,"size":38,"collection":61,"collections":727,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":728},201313,"ting-lin-xiao-xia-tu-zhou-zhou-chen-201313","亭林消夏图轴","周臣","层岩叠嶂间，古松虬枝倚石横生，山巅亭阁半隐于云霭，添幽邃之致。山麓水畔，敞轩临流，文人对坐清谈，树影婆娑，风意微凉。山石以皴法勾勒，笔墨苍劲中含秀润；林木疏密有致，水墨晕染与浅设色相融，兼得北派雄健与南宗秀逸。整体清旷闲适，尽显夏日山林静谧与文人消夏雅兴。",[29,94,28,27,74,163,31,53,7,95,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48906835f086aac2256f8091cbe22cd.jpg",[61],"947f6d",{"id":730,"slug":731,"title":732,"dynasty":648,"author":89,"museum":71,"description":733,"tags":734,"thumbUrl":738,"material":36,"size":80,"collection":38,"collections":739,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},289281,"philip-van-den-bossche-rugged-wooded-river-landscape-yi-ming-289281","Philip van den Bossche--Rugged Wooded River Landscape","近景苍劲古木虬曲扎根崖石，三位行人衣袂飘然，驻足低语间衬出林野幽寂。画师以疏密错落的排线铺陈光影，复刻出林木的婆娑层次与山石的粗糙肌理。\n\n中景崖岸蜿蜒衔接着河谷村落，屋舍隐桥错落嵌入氤氲山霭，将深林的荒疏与村居的烟火柔和衔接。淡笔留白晕染出空濛的郊野雾气，让山野层次愈发悠远。\n\n笔致简淡却层次丰盈，将北方乡野的清旷朴拙尽数藏于线条褶皱里，仿佛能让人踏入这幅画，静享漫游林麓的悠然隐逸之趣。",[702,117,29,277,7,640,53,735,736,737],"河流","村落","风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff910edd277d9b45df0dad6f89d46302f.jpg",[],1777535708759]