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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， 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。",[23,24,144,27,28,26,145,7,133,146,147],"山水画","山崖","河流","隐寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefa0c49568056df7a5e749eaca47808.jpg",[],58,{"id":152,"slug":153,"title":154,"dynasty":50,"author":155,"museum":96,"description":156,"tags":157,"thumbUrl":161,"material":162,"size":163,"collection":164,"collections":165,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":45},291002,"gu-song-tu-shen-zhou-291002","古松图","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， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[24,23,25,27,7,158,159,160,82],"枯藤","松果","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f287011696dffb4e0f719e2224fed22.jpg","纸本,水墨","73.9x51.2","水墨画精选",[164],55,{"id":168,"slug":169,"title":170,"dynasty":18,"author":171,"museum":77,"description":172,"tags":173,"thumbUrl":177,"material":85,"size":86,"collection":87,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":180},288349,"fang-ma-yuan-dong-tian-lun-dao-tu-yi-ming-288349","仿马远洞天论道图","佚名","此作截取山林一角取景，虬松盘桓苍劲，松萝垂拂摇曳，尽显古木苍莽野趣。幽壑洞天深处，二人相对清谈，逸韵飘然恍如世外。右下角山道之上，负杖策蹇的行者缓行而来，似赴雅约，动静之间，让画面生出悠远意趣。\n\n笔墨承袭院体风骨，山石以硬劲水墨皴擦，棱线清刚利落，林木晕染秀润柔和，虚实相映间，铺展出林泉高隐的悠然意境，将文人林下谈玄、寄情丘山的雅逸襟怀尽数铺陈，空灵雅致，尽显宋画小品的隽永韵味。",[174,23,24,27,28,26,7,32,56,175,176],"扇面","论道","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f673a57d4c4662982d4368a198aef3.jpg",[],52,"F48FB1",{"id":182,"slug":183,"title":184,"dynasty":50,"author":185,"museum":77,"description":186,"tags":187,"thumbUrl":189,"material":85,"size":86,"collection":87,"collections":190,"showCount":191,"zanCount":70,"manualWeight":11,"mainColor":90},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。",[24,23,25,99,27,26,56,7,188,28],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9526f0a780eae247d4606bd9760b2cf.jpg",[],44,{"id":193,"slug":194,"title":195,"dynasty":18,"author":196,"museum":77,"description":197,"tags":198,"thumbUrl":201,"material":85,"size":86,"collection":87,"collections":202,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":45},289344,"gu-song-lou-ge-tu-ma-yuan-289344","古松楼阁图","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。",[174,23,25,199,27,28,7,101,26,200],"界画","萧疏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecdcd1b7f2e5df3f39c8f2645afbde3.jpg",[],40,{"id":205,"slug":206,"title":207,"dynasty":18,"author":208,"museum":77,"description":209,"tags":210,"thumbUrl":212,"material":85,"size":86,"collection":87,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":45},290294,"san-song-tu-guo-xi-290294","三松图","郭熙","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[24,23,27,99,7,211,82,28,26],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd67a22eb483af91386a29d1eed6d454.jpg",[],36,{"id":216,"slug":217,"title":154,"dynasty":18,"author":208,"museum":77,"description":209,"tags":218,"thumbUrl":221,"material":85,"size":86,"collection":87,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":45},291007,"gu-song-tu-guo-xi-291007",[23,24,99,27,28,7,219,220,82],"老树","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d8920ad7268cf0fee7850c0890f75.jpg",[],31,{"id":225,"slug":226,"title":227,"dynasty":50,"author":171,"museum":77,"description":228,"tags":229,"thumbUrl":237,"material":85,"size":86,"collection":87,"collections":238,"showCount":239,"zanCount":240,"manualWeight":11,"mainColor":45},287795,"shan-hai-bai-ling-tu-juan-tang-hu-gui-fan-shou-tu-yi-ming-287795","山海百灵图卷·唐胡瓌蕃兽图","此卷以苍莽山野为底，百兽珍灵错落游走于松石崖瀑间。工笔勾勒兼施晕染，各色异兽形神鲜活，或奔腾驰跃，或安卧林间，灵动宛然。布景疏密有致，岩壑古拙、松竹清隽，铺展幽旷林泉秘境，将山野生机尽数铺陈。画风古雅沉静，写生功力扎实，将百兽百态与林泉野趣相融，暗合山海灵韵，复刻出上古灵囿的鲜活图景，尽显古典畜兽画的雅致意趣。",[55,23,130,62,100,230,231,232,233,234,7,235,236],"兽","异兽","走兽","山林","山岩","草木","蕃兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcedb0accde94bc9300918503d78dc9e.jpg",[],30,2,{"id":242,"slug":243,"title":244,"dynasty":245,"author":246,"museum":77,"description":247,"tags":248,"thumbUrl":252,"material":85,"size":86,"collection":87,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":45},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像","元","赵孟頫","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,24,25,99,62,56,249,250,251,7,158,32],"宗教","佛教","达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],29,{"id":256,"slug":257,"title":258,"dynasty":50,"author":259,"museum":96,"description":260,"tags":261,"thumbUrl":275,"material":276,"size":277,"collection":278,"collections":279,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":90},218794,"bai-lu-tu-zhang-hong-218794","百禄图","张宏","张宏，字君度，号鹤涧，江苏吴县人。生于明神宗万历七年（西元一五七七年），至清圣祖康熙八年（西元一六六八年）尚健在。工山水，笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[23,27,62,28,26,230,262,263,32,59,33,264,265,266,35,267,268,7,269,270,271,272,273,274,100],"鹿","松树","淡彩","兼工带写","林木","岩石","鹿群","山景","自然景观","传统绘画","明代风格","笔墨技法","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","纸本,设色","170.4x77.2cm","花鸟画精选",[278],{"id":281,"slug":282,"title":283,"dynasty":245,"author":284,"museum":96,"description":285,"tags":286,"thumbUrl":287,"material":162,"size":288,"collection":87,"collections":289,"showCount":290,"zanCount":70,"manualWeight":11,"mainColor":90},287664,"kuang-lu-tu-dai-chun-287664","匡庐图","戴淳","《匡庐图》是元代戴淳创作的一幅立轴纸本水墨山水画，纵117.1厘米，横50.9厘米，此画老树挺拔，山石险峻，高崖一层一层相叠著。峰顶筑有古寺楼阁，建筑物的描绘，方劲稳重，山石的形状，也近乎方形。石纹多用枯笔皴擦，颇有苍老而稳健的感觉。明末清初的龚贤，在画风上与这幅画有极相近之处",[23,25,27,26,99,28,101,29,7,32,160,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e308b4e2b73206906d8d274eb15436e.jpg","117.1x50.9",[],24,{"id":292,"slug":293,"title":294,"dynasty":18,"author":208,"museum":77,"description":209,"tags":295,"thumbUrl":297,"material":85,"size"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