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周写的长诗。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38],"高清","国画","书画","长卷","水墨","设色","山水","小桥","流水","亭","树木","山石","房屋","皴法","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","纸本,设色","31.6x348","山水画精选",[42],7463,45,"BDBDBD",{"id":48,"slug":49,"title":50,"dynasty":18,"author":51,"museum":52,"description":53,"tags":54,"thumbUrl":64,"material":65,"size":66,"collection":42,"collections":67,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":71},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","仇英","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,55,24,25,26,56,28,57,36,58,29,59,60,61,30,31,7,32,33,62,63],"名画","青绿","工笔","印章","桃花","人物","楼阁","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 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年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[24,27,215,29,36,7,216,33,142,31,158,217],"立轴","蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[42,131],1229,4,{"id":223,"slug":224,"title":225,"dynasty":18,"author":19,"museum":226,"description":227,"tags":228,"thumbUrl":232,"material":233,"size":234,"collection":42,"collections":235,"showCount":236,"zanCount":237,"manualWeight":11,"mainColor":46},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,27,28,229,230,29,61,231,30,31,7,60,33,32],"界画","册","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","纸本","31.1×40.2cmx12",[42],1160,9,{"id":239,"slug":240,"title":241,"dynasty":94,"author":242,"museum":20,"description":243,"tags":244,"thumbUrl":248,"material":249,"size":250,"collection":42,"collections":251,"showCount":252,"zanCount":253,"manualWeight":11,"mainColor":46},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[23,55,24,25,26,27,245,36,7,216,175,33,142,246,247,38,58],"山水画","河流","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","纸本,水墨","33x651.6",[42],887,6,{"id":255,"slug":256,"title":257,"dynasty":18,"author":19,"museum":138,"description":258,"tags":259,"thumbUrl":260,"material":100,"size":261,"collection":262,"collections":263,"showCount":264,"zanCount":195,"manualWeight":11,"mainColor":46},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,25,26,27,36,29,141,30,31,7,84,32,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米","人物画精选",[262,42,68],877,{"id":266,"slug":267,"title":268,"dynasty":18,"author":19,"museum":269,"description":270,"tags":271,"thumbUrl":275,"material":276,"size":277,"collection":42,"collections":278,"showCount":279,"zanCount":280,"manualWeight":11,"mainColor":46},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","辽宁省博物馆","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,24,27,26,36,29,7,33,143,34,272,273,274,60],"瀑布","远山","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","纸本，水墨","50*1165cm",[42,131],871,3,{"id":282,"slug":283,"title":284,"dynasty":285,"author":286,"museum":138,"description":287,"tags":288,"thumbUrl":291,"material":128,"size":292,"collection":42,"collections":293,"showCount":294,"zanCount":295,"manualWeight":11,"mainColor":71},221154,"xiao-xiang-tu-dong-yuan-221154","潇湘图","五代十国","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[23,24,25,26,29,27,28,289,246,33,290,7,60,143],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[42,131],763,14,{"id":297,"slug":298,"title":299,"dynasty":153,"author":300,"museum":96,"description":301,"tags":302,"thumbUrl":308,"material":160,"size":86,"collection":86,"collections":309,"showCount":310,"zanCount":181,"manualWeight":11,"mainColor":46},227507,"chi-bi-fu-su-shi-227507","赤壁赋","苏轼","《赤壁赋》是北宋文学家苏轼创作的一篇赋，作于宋神宗元丰五年（1082）贬谪黄州（今湖北黄冈）时。此赋记叙了作者与朋友们月夜泛舟游赤壁的所见所感，以作者的主观感受为线索，通过主客问答的形式，反映了作者由月夜泛舟的舒畅，到怀古伤今的悲咽，再到精神解脱的达观。全赋在布局与结构安排中映现了其独特的艺术构思，情韵深致、理意透辟，在中国文学上有着很高的文学地位，并对之后的赋、散文、诗产生了重大影响。",[37,38,26,27,58,303,7,31,304,305,306,307],"明月","饮酒","江","山","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac209c020ded2a63af2f57b2b4992897.jpg",[],736,{"id":312,"slug":313,"title":314,"dynasty":153,"author":315,"museum":188,"description":316,"tags":317,"thumbUrl":318,"material":100,"size":86,"collection":319,"collections":320,"showCount":321,"zanCount":280,"manualWeight":11,"mainColor":71},218621,"han-jiang-du-diao-tu-ma-yuan-218621","寒江独钓图","马远","寒江浩渺，孤舟一叶浮于烟波间。渔翁披蓑戴笠，垂纶独钓，孑然身影似与天地融为一体。近景枯树虬枝如铁，劲挺笔触勾勒出冬日萧瑟；山石以斧劈皴皴擦，棱角分明，冷峻刚硬，与江面空濛形成鲜明对照。画面大片留白，若皑皑白雪覆江天，又似寒雾弥漫四野，将“空”与“寂”推至极致。寥寥数笔，于极简中藏丰盈，孤寂里见超脱。水墨留白之妙尽显，观者于冷寂意境中，可感那份遗世独立的悠然旷达，仿佛听见寒江之上的风，拂过枯枝，掠过孤舟，漾开一圈圈清寂的涟漪。",[23,24,55,215,27,36,29,7,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2e94c6e14b8cb3f8a3e897c8b3b89c.jpg","花鸟画精选",[319],696,{"id":323,"slug":324,"title":325,"dynasty":18,"author":326,"museum":96,"description":327,"tags":328,"thumbUrl":330,"material":331,"size":332,"collection":262,"collections":333,"showCount":334,"zanCount":335,"manualWeight":11,"mainColor":71},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","唐寅","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,25,26,28,29,175,31,7,32,33,34,329,60,37,38,58],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","绢","纵29.4cm，横351cm",[262,68],633,5,{"id":337,"slug":338,"title":339,"dynasty":94,"author":340,"museum":96,"description":341,"tags":342,"thumbUrl":344,"material":249,"size":345,"collection":42,"collections":346,"showCount":347,"zanCount":335,"manualWeight":11,"mainColor":46},218740,"shan-shui-tu-ni-zan-218740","山水图","倪瓒","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,55,24,25,215,27,36,343,29,34,272,31,33,7,216],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[42],579,{"id":349,"slug":350,"title":351,"dynasty":352,"author":353,"museum":354,"description":355,"tags":356,"thumbUrl":358,"material":359,"size":360,"collection":86,"collections":361,"showCount":362,"zanCount":253,"manualWeight":11,"mainColor":71},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","唐","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,55,24,215,56,28,57,29,61,7,60,31,357,58],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg","未知","Xcm*Xcm",[],556,{"id":364,"slug":365,"title":366,"dynasty":352,"author":367,"museum":78,"description":368,"tags":369,"thumbUrl":373,"material":100,"size":86,"collection":42,"collections":374,"showCount":375,"zanCount":376,"manualWeight":11,"mainColor":71},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,55,24,26,28,29,370,174,63,7,34,246,33,371,372],"雪","雪景","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[42],519,8,{"id":378,"slug":379,"title":380,"dynasty":285,"author":286,"museum":52,"description":381,"tags":382,"thumbUrl":385,"material":249,"size":386,"collection":42,"collections":387,"showCount":388,"zanCount":335,"manualWeight":11,"mainColor":71},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,55,24,25,26,27,36,29,383,33,142,143,7,31,384,32],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[42,131],498,{"id":390,"slug":391,"title":314,"dynasty":153,"author":315,"museum":392,"description":393,"tags":394,"thumbUrl":399,"material":400,"size":401,"collection":162,"collections":402,"showCount":403,"zanCount":253,"manualWeight":11,"mainColor":71},221665,"han-jiang-du-diao-tu-ma-yuan-221665","日本京都国立博物馆","此画是宋代马远创作的一幅山水画。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。",[23,55,24,27,395,396,60,7,216,397,398],"留白","一角构图","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米",[162,42,68],495,{"id":405,"slug":406,"title":407,"dynasty":18,"author":19,"museum":408,"description":409,"tags":410,"thumbUrl":412,"material":40,"size":413,"collection":42,"collections":414,"showCount":415,"zanCount":335,"manualWeight":11,"mainColor":46},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,24,25,26,28,36,29,7,60,329,411,33,31,34,175],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[42,68],460,{"id":417,"slug":418,"title":419,"dynasty":94,"author":242,"museum":138,"description":420,"tags":421,"thumbUrl":423,"material":424,"size":425,"collection":262,"collections":426,"showCount":427,"zanCount":280,"manualWeight":11,"mainColor":46},220778,"yu-fu-tu-wu-zhen-220778","渔父图","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[23,24,25,27,36,29,7,216,422,31,34,175],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","绢本，墨笔","纵84.7厘米，横29.7厘米",[262,131],434,{"id":429,"slug":430,"title":431,"dynasty":94,"author":432,"museum":96,"description":433,"tags":434,"thumbUrl":436,"material":160,"size":437,"collection":42,"collections":438,"showCount":439,"zanCount":221,"manualWeight":11,"mainColor":46},220816,"qiu-shan-cao-tang-tu-zhou-wang-meng-220816","秋山草堂图轴","王蒙","1308－1385元画家。字叔明，号香光居士，湖州（今浙江吴兴）人。外祖父赵孟頫、外祖母管道升、舅父赵雍、表弟赵彦徵都是元代著名画家。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。王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。\n“王叔明画，从赵文敏风韵中来。……泛滥唐宋诸名家，而从董源、王维为宗，故其纵逸多姿，往往出文敏规格之外”。王蒙的画法，善变而多巧妙，喜画重山复岭之繁景，常用解索皴和焦墨点苔。所写山林树木，苍郁茂密而具有浑远的空间感。《秋山草堂图》画高山崇岭，茂树清淡，山脚草堂临水，水际荻花萧瑟堂内隐者怡然自得。表现出江南自然山川的湿润，创造出蓊郁深秀、浑厚华兹的境界。",[23,24,27,28,36,215,29,422,435,31,7,30,174,58],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f99ee1ba33b0552bd4f03b90e05f53.jpg","123.3×54.8",[42,131],412,{"id":441,"slug":442,"title":339,"dynasty":153,"author":443,"museum":96,"description":444,"tags":445,"thumbUrl":447,"material":100,"size":448,"collection":42,"collections":449,"showCount":439,"zanCount":450,"manualWeight":11,"mainColor":71},214668,"shan-shui-tu-guo-zhong-shu-214668","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[24,55,29,63,7,175,174,84,31,142,446,28],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[42],2,{"id":452,"slug":453,"title":454,"dynasty":18,"author":19,"museum":138,"description":455,"tags":456,"thumbUrl":459,"material":177,"size":460,"collection":42,"collections":461,"showCount":462,"zanCount":221,"manualWeight":11,"mainColor":46},222098,"jing-jiang-song-bie-tu-shen-zhou-222098","京江送别图","此图引首为王时敏题隶书“名迹貽徽”。本幅款署“沈周”。钤“启南”。后幅有沈周自题跋文，述作此图原由。另有明代文林书“送吳敘州之任序”、祝允明书“敘州府太守吳公詩序”及多家跋文。\n据《吴梅村先生集》考，此图成于明弘治四年(1491年)辛亥三月，沈周时年65岁。图中描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。吴愈是沈周的朋友，文徵明的岳丈，任所叙州，地处今四川宜宾。画面中主人乘舟远去，众人在岸边长揖作别。此时江南正是杨柳葱郁、山桃烂漫、风光无限之时。作者借描绘江南秀色流露出依依惜别之情，寄情于景，情景交融。远山以粗笔披麻皴法出之，墨色浓重滋润，线条苍秀，反映了沈周成熟的画风。",[23,24,457,36,26,29,7,60,33,30,31,458],"水墨画","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97856aac11363d716cd5b6de3f3eb0bf.jpg","纵28厘米，横159厘米",[42,68],411,{"id":464,"slug":465,"title":466,"dynasty":153,"author":187,"museum":467,"description":468,"tags":469,"thumbUrl":470,"material":471,"size":472,"collection":162,"collections":473,"showCount":474,"zanCount":253,"manualWeight":11,"mainColor":71},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","美国大都会艺术博物馆","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[23,24,27,26,29,32,174,141,7,60,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[162,42,131],387,{"id":476,"slug":477,"title":478,"dynasty":18,"author":51,"museum":188,"description":479,"tags":480,"thumbUrl":482,"material":100,"size":483,"collection":262,"collections":484,"showCount":485,"zanCount":253,"manualWeight":11,"mainColor":71},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -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。",[23,24,25,230,57,28,229,56,29,60,61,32,31,7,30,63,84,481,303,191,83,141],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[262],376,{"id":487,"slug":488,"title":489,"dynasty":18,"author":200,"museum":490,"description":491,"tags":492,"thumbUrl":493,"material":40,"size":86,"collection":42,"collections":494,"showCount":495,"zanCount":450,"manualWeight":11,"mainColor":46},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","大英博物馆","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,25,27,28,230,29,7,63,84,141,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[42],375,{"id":497,"slug":498,"title":499,"dynasty":109,"author":500,"museum":78,"description":501,"tags":502,"thumbUrl":506,"material":86,"size":86,"collection":42,"collections":507,"showCount":508,"zanCount":280,"manualWeight":11,"mainColor":46},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","石涛","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,24,25,230,27,28,36,29,7,503,504,34,33,505,58],"帆船","小屋","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[42,68],374,{"id":510,"slug":511,"title":512,"dynasty":94,"author":513,"museum":138,"description":514,"tags":515,"thumbUrl":517,"material":177,"size":518,"collection":42,"collections":519,"showCount":520,"zanCount":376,"manualWeight":11,"mainColor":71},221710,"shan-ju-tu-qian-xuan-221710","山居图","钱选","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[23,55,24,25,26,56,28,57,36,37,58,29,306,516,422,357,30,31,35,7,141,84],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[42,68],368,{"id":522,"slug":523,"title":524,"dynasty":153,"author":525,"museum":526,"description":527,"tags":528,"thumbUrl":530,"material":531,"size":86,"collection":42,"collections":532,"showCount":533,"zanCount":280,"manualWeight":11,"mainColor":46},219195,"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","牧溪","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[23,529,24,55,26,27,29,7,84,63,32],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[42,162],359,{"id":535,"slug":536,"title":93,"dynasty":94,"author":95,"museum":96,"description":125,"tags":537,"thumbUrl":541,"material":128,"size":101,"collection":42,"collections":542,"showCount":543,"zanCount":450,"manualWeight":11,"mainColor":46},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[23,24,25,26,27,36,29,7,31,33,305,142,30,538,290,141,329,143,539,540],"渔舟","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[42,131],349,{"id":545,"slug":546,"title":547,"dynasty":18,"author":19,"museum":78,"description":548,"tags":549,"thumbUrl":551,"material":116,"size":86,"collection":86,"collections":552,"showCount":553,"zanCount":450,"manualWeight":11,"mainColor":46},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,55,24,25,26,27,28,29,31,32,60,7,34,36,550,33],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":555,"slug":556,"title":557,"dynasty":18,"author":558,"museum":96,"description":559,"tags":560,"thumbUrl":563,"material":128,"size":564,"collection":42,"collections":565,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":71},222033,"chun-han-tu-dai-jin-222033","春酣图","戴进","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,55,29,28,36,60,357,30,31,7,84,561,34,143,562,175],"春景","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[42,68],340,{"id":568,"slug":569,"title":570,"dynasty":153,"author":315,"museum":571,"description":572,"tags":573,"thumbUrl":576,"material":233,"size":577,"collection":162,"collections":578,"showCount":579,"zanCount":280,"manualWeight":11,"mainColor":71},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","美国纳尔逊阿特金斯艺术博物馆","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,25,27,28,26,36,29,60,7,550,574,31,575,158,33,175],"马","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[162,42,68],334,{"id":581,"slug":582,"title":583,"dynasty":94,"author":584,"museum":138,"description":585,"tags":586,"thumbUrl":587,"material":588,"size":589,"collection":42,"collections":590,"showCount":591,"zanCount":592,"manualWeight":11,"mainColor":71},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,24,25,215,57,28,36,29,7,60,61,33,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","绢本设色","纵143厘米，横55.5厘米",[42,131],332,1,{"id":594,"slug":595,"title":596,"dynasty":109,"author":597,"museum":188,"description":598,"tags":599,"thumbUrl":601,"material":40,"size":86,"collection":42,"collections":602,"showCount":603,"zanCount":592,"manualWeight":11,"mainColor":46},214378,"shan-shui-tu-ce-zhu-da-214378","山水图册","朱耷","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[23,24,27,230,36,58,29,34,174,600,7,35],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg",[42],324,{"id":605,"slug":606,"title":339,"dynasty":94,"author":607,"museum":96,"description":608,"tags":609,"thumbUrl":610,"material":249,"size":611,"collection":42,"collections":612,"showCount":613,"zanCount":592,"manualWeight":11,"mainColor":71},214248,"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[23,94,24,25,215,27,36,29,7,84,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[42],317,{"id":615,"slug":616,"title":617,"dynasty":285,"author":286,"museum":269,"description":618,"tags":619,"thumbUrl":620,"material":128,"size":621,"collection":42,"collections":622,"showCount":623,"zanCount":11,"manualWeight":11,"mainColor":71},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,55,25,26,29,31,7,33,289,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[42,131],309,{"id":625,"slug":626,"title":627,"dynasty":153,"author":315,"museum":96,"description":628,"tags":629,"thumbUrl":630,"material":40,"size":631,"collection":42,"collections":632,"showCount":633,"zanCount":280,"manualWeight":11,"mainColor":46},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,55,25,26,27,28,36,29,34,33,31,7,30,32,63,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[42,68],280,{"id":635,"slug":636,"title":637,"dynasty":18,"author":51,"museum":269,"description":638,"tags":639,"thumbUrl":640,"material":588,"size":641,"collection":42,"collections":642,"showCount":643,"zanCount":195,"manualWeight":11,"mainColor":71},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,25,55,26,56,28,57,29,30,31,61,32,550,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[42,68],279,{"id":645,"slug":646,"title":647,"dynasty":109,"author":648,"museum":171,"description":649,"tags":650,"thumbUrl":652,"material":128,"size":653,"collection":319,"collections":654,"showCount":643,"zanCount":376,"manualWeight":11,"mainColor":46},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","恽寿平","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,24,25,26,28,29,36,33,651,31,7,30,34,32],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm",[319,68],{"id":656,"slug":657,"title":658,"dynasty":94,"author":432,"museum":188,"description":659,"tags":660,"thumbUrl":662,"material":249,"size":86,"collection":86,"collections":663,"showCount":664,"zanCount":11,"manualWeight":11,"mainColor":46},214570,"shan-shui-ce-7-wang-meng-214570","山水册-7","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,55,25,230,27,36,29,84,661,7,34,32,31],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7721b1ffd15bca0c3f537a750918a292.jpg",[],278,{"id":666,"slug":667,"title":668,"dynasty":18,"author":51,"museum":669,"description":670,"tags":671,"thumbUrl":674,"material":177,"size":675,"collection":42,"collections":676,"showCount":677,"zanCount":280,"manualWeight":11,"mainColor":46},222206,"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","湖南省博物馆","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,24,57,28,36,215,29,672,246,7,60,34,175,33,673],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[42,68],267,{"id":679,"slug":680,"title":339,"dynasty":94,"author":607,"museum":96,"description":681,"tags":682,"thumbUrl":683,"material":684,"size":685,"collection":42,"collections":686,"showCount":687,"zanCount":450,"manualWeight":11,"mainColor":71},221755,"shan-shui-tu-sheng-mao-221755","元代盛懋《山水图》，盛懋 ，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,25,28,36,29,84,7,516,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[42,68],264,{"id":689,"slug":690,"title":314,"dynasty":153,"author":691,"museum":96,"description":692,"tags":693,"thumbUrl":695,"material":128,"size":86,"collection":162,"collections":696,"showCount":697,"zanCount":592,"manualWeight":11,"mainColor":71},218922,"han-jiang-du-diao-tu-fan-kuan-218922","范宽","枯树虬枝如铁，在寒风中伸展筋骨，枝桠间似凝着霜雪的清冷。江面浩渺无垠，水波敛去喧嚣，只留一片沉静褐调，将天地空旷铺展到极致。孤舟一叶，钓者独倚，身影与舟楫融入江天，仿佛与自然达成无声默契。笔触简练却含深意，线条勾勒景物骨韵，色调晕染冬日萧寒。没有繁复铺陈，仅以极简元素，便营造出“天地一孤舟”的寂寥与超脱——那是文人心中对宁静的向往，是喧嚣外的片刻澄明，千年后仍能让观者触摸到穿透时光的静谧安然。",[23,24,27,694,29,7,216,84,36,305],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ef92a86d76f6756a5cc670fe8e2a88.jpg",[162],256,{"id":699,"slug":700,"title":701,"dynasty":352,"author":367,"museum":78,"description":702,"tags":703,"thumbUrl":706,"material":359,"size":360,"collection":86,"collections":707,"showCount":708,"zanCount":280,"manualWeight":11,"mainColor":71},289005,"wang-chuan-tu-wang-wei-289005","辋川图","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,55,24,26,245,28,36,29,61,33,246,7,704,705,446,142],"山居","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":710,"slug":711,"title":712,"dynasty":18,"author":19,"museum":138,"description":258,"tags":713,"thumbUrl":260,"material":233,"size":116,"collection":42,"collections":714,"showCount":715,"zanCount":592,"manualWeight":11,"mainColor":46},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,25,26,29,343,27,28,36,38,37,34,33,31,30,7,32],[42],248,{"id":717,"slug":718,"title":719,"dynasty":18,"author":326,"museum":720,"description":721,"tags":722,"thumbUrl":725,"material":276,"size":726,"collection":42,"collections":727,"showCount":728,"zanCount":280,"manualWeight":11,"mainColor":71},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","美国克利夫兰艺术博物馆","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[23,24,26,28,29,36,57,723,724,7,31,32,33,34,35],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[42,68],242,{"id":730,"slug":731,"title":732,"dynasty":109,"author":500,"museum":733,"description":734,"tags":735,"thumbUrl":736,"material":40,"size":737,"collection":86,"collections":738,"showCount":739,"zanCount":592,"manualWeight":11,"mainColor":46},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","美国弗利尔美术馆","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,27,28,29,61,30,31,7,34,33,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],241,{"id":741,"slug":742,"title":743,"dynasty":153,"author":744,"museum":96,"description":745,"tags":746,"thumbUrl":747,"material":748,"size":749,"collection":162,"collections":750,"showCount":751,"zanCount":221,"manualWeight":11,"mainColor":71},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","李唐","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,55,26,27,36,37,58,29,30,31,7,216,84,175,329,34,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","绢本,水墨","纵25.2厘米，横144.7厘米",[162],237,{"id":753,"slug":754,"title":339,"dynasty":153,"author":315,"museum":755,"description":756,"tags":757,"thumbUrl":758,"material":100,"size":759,"collection":162,"collections":760,"showCount":761,"zanCount":11,"manualWeight":11,"mainColor":71},218658,"shan-shui-tu-ma-yuan-218658","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[24,694,27,36,29,84,34,31,7,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[162],234,{"id":763,"slug":764,"title":765,"dynasty":18,"author":766,"museum":78,"description":767,"tags":768,"thumbUrl":772,"material":177,"size":86,"collection":86,"collections":773,"showCount":774,"zanCount":11,"manualWeight":11,"mainColor":71},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,26,81,28,27,36,29,33,34,30,31,7,32,60,329,273,274,769,770,771],"峭壁","植被","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":776,"slug":777,"title":778,"dynasty":153,"author":779,"museum":96,"description":780,"tags":781,"thumbUrl":782,"material":100,"size":783,"collection":162,"collections":784,"showCount":785,"zanCount":280,"manualWeight":11,"mainColor":71},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[23,24,25,29,36,27,7,31,34,33,216,175,661,84,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[162,42],225,{"id":787,"slug":788,"title":789,"dynasty":153,"author":744,"museum":96,"description":790,"tags":791,"thumbUrl":794,"material":40,"size":795,"collection":42,"collections":796,"showCount":797,"zanCount":450,"manualWeight":11,"mainColor":71},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[24,25,215,29,27,36,28,792,7,793,273,60,58,329],"江水","枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[42],223,{"id":799,"slug":800,"title":801,"dynasty":94,"author":432,"museum":96,"description":802,"tags":803,"thumbUrl":805,"material":249,"size":806,"collection":42,"collections":807,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":71},218912,"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","整幅画的笔触密集而精炼，所画的柳与赵孟𫖯在《鹊华秋色》卷中所画的柳相似。",[23,24,25,27,36,29,306,516,422,7,32,157,158,175,35,804],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","129x58.3cm",[42],221,{"id":810,"slug":811,"title":812,"dynasty":94,"author":813,"museum":467,"description":814,"tags":815,"thumbUrl":817,"material":233,"size":818,"collection":42,"collections":819,"showCount":820,"zanCount":221,"manualWeight":11,"mainColor":46},220837,"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","赵孟頫","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[24,25,26,27,36,29,816,34,7,58],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米",[42,131],220,{"id":822,"slug":823,"title":824,"dynasty":18,"author":19,"museum":78,"description":825,"tags":826,"thumbUrl":827,"material":359,"size":360,"collection":86,"collections":828,"showCount":829,"zanCount":592,"manualWeight":11,"mainColor":46},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[23,24,27,36,215,37,58,29,7,174,141,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],218,{"id":831,"slug":832,"title":833,"dynasty":18,"author":19,"museum":467,"description":834,"tags":835,"thumbUrl":836,"material":40,"size":837,"collection":42,"collections":838,"showCount":839,"zanCount":450,"manualWeight":11,"mainColor":840},219718,"qiu-lin-xian-diao-tu-shen-zhou-219718","秋林闲钓图","《秋林闲钓图》以士人悠游林下的生活场景为主线，画一老者，端坐于河边树下坡地，全神执竿垂钓。画树错落有致，姿态优美，笔力古健。此图于成化十一年乙未（1475年）所作，作者沈周时年四十九岁。图上有沈周的题款：“繫舟烟浪夕，笑语溢柴闗。淡墨灯前画，故情江上山。相交父子者，岂在酒杯间。与君将白发，共对钓丝閒。予谬交志刚彭君父子间几三十年，志刚有古道，通予有无，非市郭拍肩执袂者比也。乙未长至后一日志刚擕酌至有竹居，秉烛写此图并题其上，聊寓感感而已，诗画云乎哉。沈周。",[24,27,36,215,29,60,84,141,175,661,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59ec7decf5cf8b949fc64e7998369.jpg","纵152.4厘米，横62.9厘",[42],211,"37474F",{"id":842,"slug":843,"title":844,"dynasty":94,"author":813,"museum":96,"description":845,"tags":846,"thumbUrl":847,"material":233,"size":848,"collection":849,"collections":850,"showCount":851,"zanCount":450,"manualWeight":11,"mainColor":46},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,55,24,25,26,38,82,27,28,60,29,7,31,303,141,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米","书法精选",[849],207,{"id":853,"slug":854,"title":855,"dynasty":18,"author":856,"museum":188,"description":857,"tags":858,"thumbUrl":859,"material":40,"size":860,"collection":42,"collections":861,"showCount":862,"zanCount":221,"manualWeight":11,"mainColor":71},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,28,29,57,36,306,516,422,32,7,216,30,31,34,143,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[42,68],204,{"id":864,"slug":865,"title":419,"dynasty":153,"author":154,"museum":78,"description":866,"tags":867,"thumbUrl":869,"material":100,"size":870,"collection":42,"collections":871,"showCount":872,"zanCount":450,"manualWeight":11,"mainColor":71},218591,"yu-fu-tu-xia-gui-218591","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[55,24,25,215,27,28,36,29,422,7,868,273,175],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[42],201,{"id":874,"slug":875,"title":876,"dynasty":153,"author":877,"museum":733,"description":878,"tags":879,"thumbUrl":881,"material":249,"size":882,"collection":42,"collections":883,"showCount":872,"zanCount":592,"manualWeight":11,"mainColor":46},218565,"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","米芾","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[24,25,55,215,27,29,36,306,880,422,32,7,31],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","103.4x37.6cm",[42],{"id":885,"slug":886,"title":186,"dynasty":94,"author":200,"museum":138,"description":887,"tags":888,"thumbUrl":889,"material":100,"size":890,"collection":42,"collections":891,"showCount":892,"zanCount":592,"manualWeight":11,"mainColor":71},218083,"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[24,27,28,36,29,7,34,84,31,142,33,562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[42],198,{"id":894,"slug":895,"title":896,"dynasty":109,"author":500,"museum":78,"description":897,"tags":898,"thumbUrl":899,"material":86,"size":86,"collection":42,"collections":900,"showCount":901,"zanCount":592,"manualWeight":11,"mainColor":46},224497,"shan-shui-ce-shi-tao-224497","山水册","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[23,24,28,27,36,230,29,7,31,34,84,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[42,68],194,{"id":903,"slug":904,"title":905,"dynasty":18,"author":51,"museum":571,"description":906,"tags":907,"thumbUrl":908,"material":128,"size":909,"collection":42,"collections":910,"showCount":911,"zanCount":450,"manualWeight":11,"mainColor":46},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,26,56,28,57,38,37,29,7,60,32,31,30,61,33,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[42,68],193,{"id":913,"slug":914,"title":915,"dynasty":153,"author":916,"museum":467,"description":917,"tags":918,"thumbUrl":919,"material":588,"size":920,"collection":162,"collections":921,"showCount":922,"zanCount":280,"manualWeight":11,"mainColor":71},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","刘松年","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,55,25,26,57,36,27,29,370,174,34,35,246,7,216,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[162,42,68],191,{"id":924,"slug":925,"title":926,"dynasty":153,"author":525,"museum":927,"description":928,"tags":929,"thumbUrl":930,"material":249,"size":931,"collection":131,"collections":932,"showCount":933,"zanCount":221,"manualWeight":11,"mainColor":46},218647,"dong-ting-qiu-yue-tu-mu-xi-218647","洞庭秋月图","德川美术馆","据东京大学专门研究中国绘画史的小川裕中教授说，这幅《洞庭秋月》应该是潇湘八景中的第七幅。使用最简单的材料--水和墨，穆克希出色地捕捉到了潇湘地区的潮湿空气和朦胧的光线。",[23,24,27,29,7,303,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2680a913c7b3b674cc9769c96fa43ce.jpg","29.4x93.1",[131],189,{"id":935,"slug":936,"title":937,"dynasty":94,"author":813,"museum":138,"description":938,"tags":939,"thumbUrl":940,"material":249,"size":941,"collection":42,"collections":942,"showCount":943,"zanCount":450,"manualWeight":11,"mainColor":71},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[23,24,26,27,29,36,37,30,31,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[42],188,{"id":945,"slug":946,"title":947,"dynasty":153,"author":187,"museum":96,"description":948,"tags":949,"thumbUrl":951,"material":100,"size":952,"collection":162,"collections":953,"showCount":954,"zanCount":450,"manualWeight":11,"mainColor":71},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,55,215,29,27,36,34,174,61,30,31,7,272,950,231],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[162],187,{"id":956,"slug":957,"title":958,"dynasty":285,"author":286,"museum":78,"description":959,"tags":960,"thumbUrl":962,"material":359,"size":360,"collection":86,"collections":963,"showCount":964,"zanCount":450,"manualWeight":11,"mainColor":840},289944,"xia-shan-tu-dong-yuan-289944","夏山图","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。",[23,55,24,26,27,29,33,246,7,32,961,36,143],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ceabacb99b9da3101f03c4570459283.jpg",[],184,{"id":966,"slug":967,"title":968,"dynasty":153,"author":969,"museum":96,"description":970,"tags":971,"thumbUrl":973,"material":249,"size":974,"collection":162,"collections":975,"showCount":976,"zanCount":450,"manualWeight":11,"mainColor":46},221338,"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","赵佶","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[23,24,25,215,27,36,29,972,33,157,7,143,58],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[162,42,131],183,{"id":978,"slug":979,"title":980,"dynasty":285,"author":981,"museum":96,"description":982,"tags":983,"thumbUrl":985,"material":40,"size":986,"collection":42,"collections":987,"showCount":976,"zanCount":221,"manualWeight":11,"mainColor":71},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","关仝","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[23,24,55,29,215,36,28,158,33,246,7,984,32,84,31],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[42],{"id":989,"slug":990,"title":991,"dynasty":285,"author":992,"museum":96,"description":993,"tags":994,"thumbUrl":1000,"material":86,"size":86,"collection":86,"collections":1001,"showCount":1002,"zanCount":450,"manualWeight":11,"mainColor":71},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,55,24,25,26,28,57,995,174,996,7,216,31,60,997,290,998,175,247,999],"江岸","芦苇","寒林","初雪","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],179,{"id":1004,"slug":1005,"title":1006,"dynasty":109,"author":1007,"museum":1008,"description":1009,"tags":1010,"thumbUrl":1011,"material":233,"size":1012,"collection":42,"collections":1013,"showCount":1002,"zanCount":592,"manualWeight":11,"mainColor":71},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","龚贤","南京博物院","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,55,26,27,36,29,142,158,33,272,143,7,600,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[42,131],{"id":1015,"slug":1016,"title":1017,"dynasty":153,"author":443,"museum":96,"description":1018,"tags":1019,"thumbUrl":1020,"material":160,"size":1021,"collection":162,"collections":1022,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":71},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,55,24,25,26,81,229,57,28,29,61,30,31,7,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[162,42,131],{"id":1024,"slug":1025,"title":1026,"dynasty":153,"author":315,"museum":1027,"description":1028,"tags":1029,"thumbUrl":1031,"material":100,"size":1032,"collection":262,"collections":1033,"showCount":1034,"zanCount":592,"manualWeight":11,"mainColor":71},218409,"yu-le-tu-ma-yuan-218409","渔乐图","耶鲁大学艺术博物馆","山石以斧劈皴斫出棱线，苍松虬枝斜探，似要牵住远山的雾影。水面留白如镜，载一扁舟静泊，船篷半掩着渔获的细碎声响。近岸处两渔者对坐，或执竿轻叩地面，或捧物低语，衣袂随微风舒展，满是江湖散淡的意趣。\n\n马远以“一角”之景框定天地，却让渔樵的闲逸漫出画外——没有庙堂的车马喧，只有松风穿叶、水波轻漾的自在。笔墨简劲却藏着温软，将宋人的雅致与山野的旷达揉作一处：你看那渔者的笑纹，似能触到日光的暖；那松枝的弧度，恰如心尖的舒展。叫观者也想随这舟子，枕着松涛入眠，把尘事都忘在烟水之外。",[24,55,25,27,36,29,60,7,357,273,1030,505],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148",[262],175,{"id":1036,"slug":1037,"title":1038,"dynasty":94,"author":607,"museum":20,"description":1039,"tags":1040,"thumbUrl":1041,"material":100,"size":1042,"collection":42,"collections":1043,"showCount":1034,"zanCount":280,"manualWeight":11,"mainColor":71},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[24,25,29,28,56,36,60,31,7,216,175,84,661,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[42],{"id":1045,"slug":1046,"title":1047,"dynasty":18,"author":200,"museum":1048,"description":1049,"tags":1050,"thumbUrl":1053,"material":40,"size":1054,"collection":42,"collections":1055,"showCount":1034,"zanCount":592,"manualWeight":11,"mainColor":71},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[55,24,25,26,29,27,36,81,357,7,273,1051,769,33,247,1052,143],"近水","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[42],{"id":1057,"slug":1058,"title":1059,"dynasty":153,"author":200,"museum":733,"description":201,"tags":1060,"thumbUrl":1063,"material":100,"size":1064,"collection":262,"collections":1065,"showCount":1034,"zanCount":11,"manualWeight":11,"mainColor":46},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,25,26,81,28,82,57,60,83,29,7,61,33,1061,34,1062,63],"云气","异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[262],{"id":1067,"slug":1068,"title":1069,"dynasty":352,"author":367,"museum":96,"description":1070,"tags":1071,"thumbUrl":1072,"material":128,"size":1073,"collection":42,"collections":1074,"showCount":1075,"zanCount":450,"manualWeight":11,"mainColor":71},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,25,26,27,36,37,38,370,29,174,30,31,7,216,32,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[42],172,{"id":1077,"slug":1078,"title":1079,"dynasty":153,"author":200,"museum":96,"description":1080,"tags":1081,"thumbUrl":1084,"material":100,"size":86,"collection":162,"collections":1085,"showCount":1075,"zanCount":592,"manualWeight":11,"mainColor":71},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,24,25,55,29,28,230,7,60,33,868,516,1082,141,1083],"秋景","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[162,42],{"id":1087,"slug":1088,"title":1089,"dynasty":94,"author":95,"museum":1090,"description":1091,"tags":1092,"thumbUrl":1095,"material":40,"size":1096,"collection":42,"collections":1097,"showCount":1098,"zanCount":592,"manualWeight":11,"mainColor":71},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,55,25,27,36,29,34,7,33,61,174,371,1093,446,157,997,273,1094],"崖壁","层岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[42],171,{"id":1100,"slug":1101,"title":1102,"dynasty":109,"author":1103,"museum":96,"description":1104,"tags":1105,"thumbUrl":1110,"material":40,"size":86,"collection":86,"collections":1111,"showCount":1112,"zanCount":592,"manualWeight":11,"mainColor":46},214859,"xie-sheng-ce-5-hua-yan-214859","写生册-5","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,25,230,28,1106,60,84,7,1107,1108,1109],"兼工带写","石头","孩童","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401460e042e0e8b8e2745377def9863.jpg",[],165,{"id":1114,"slug":1115,"title":1116,"dynasty":94,"author":584,"museum":188,"description":1117,"tags":1118,"thumbUrl":1119,"material":100,"size":86,"collection":42,"collections":1120,"showCount":1121,"zanCount":450,"manualWeight":11,"mainColor":71},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[23,24,56,28,81,29,34,33,246,30,7,329,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[42],162,{"id":1123,"slug":1124,"title":1125,"dynasty":153,"author":1126,"museum":138,"description":1127,"tags":1128,"thumbUrl":1131,"material":276,"size":1132,"collection":162,"collections":1133,"showCount":1134,"zanCount":450,"manualWeight":11,"mainColor":46},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,24,26,27,245,36,29,1129,142,143,33,7,1130,384],"江河","桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[162,42,131],161,{"id":1136,"slug":1137,"title":1138,"dynasty":94,"author":813,"museum":20,"description":1139,"tags":1140,"thumbUrl":1145,"material":128,"size":1146,"collection":849,"collections":1147,"showCount":1134,"zanCount":280,"manualWeight":11,"mainColor":46},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[23,26,37,38,7,481,303,1141,305,306,1142,1143,1144,58],"秋风","花","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[849],{"id":1149,"slug":1150,"title":1151,"dynasty":153,"author":154,"museum":138,"description":1152,"tags":1153,"thumbUrl":1155,"material":116,"size":1156,"collection":162,"collections":1157,"showCount":1158,"zanCount":11,"manualWeight":11,"mainColor":71},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,25,27,28,36,29,370,1154,7,174,34,246,33],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[162,42,131],160,{"id":1160,"slug":1161,"title":1162,"dynasty":109,"author":500,"museum":490,"description":1163,"tags":1164,"thumbUrl":1165,"material":40,"size":1166,"collection":86,"collections":1167,"showCount":1168,"zanCount":11,"manualWeight":11,"mainColor":46},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,27,36,230,29,31,7,446,33,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg","20.3x27.5cm",[],159,{"id":1170,"slug":1171,"title":1172,"dynasty":18,"author":51,"museum":138,"description":1173,"tags":1174,"thumbUrl":1177,"material":1178,"size":1179,"collection":42,"collections":1180,"showCount":1181,"zanCount":450,"manualWeight":11,"mainColor":46},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,25,55,215,28,57,29,33,35,1175,31,7,58,1176],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","绢本，设色","纵126.5cm，横66.cm。",[42,68],156,{"id":1183,"slug":1184,"title":1185,"dynasty":18,"author":326,"museum":467,"description":1186,"tags":1187,"thumbUrl":1188,"material":100,"size":1189,"collection":42,"collections":1190,"showCount":1191,"zanCount":450,"manualWeight":11,"mainColor":71},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,25,26,27,28,29,57,36,38,58,30,31,32,61,7,63,60,84,175,191,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[42,68],153,{"id":1193,"slug":1194,"title":1195,"dynasty":153,"author":1196,"museum":96,"description":1197,"tags":1198,"thumbUrl":1199,"material":160,"size":1200,"collection":162,"collections":1201,"showCount":1202,"zanCount":592,"manualWeight":11,"mainColor":71},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,55,24,25,230,27,28,36,29,32,33,7,972,273,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[162,42],152,{"id":1204,"slug":1205,"title":1206,"dynasty":109,"author":648,"museum":78,"description":1207,"tags":1208,"thumbUrl":1210,"material":359,"size":360,"collection":86,"collections":1211,"showCount":1212,"zanCount":592,"manualWeight":11,"mainColor":46},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,215,55,29,1209,61,30,31,7,84,37,58,28,36],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":1214,"slug":1215,"title":1216,"dynasty":153,"author":200,"museum":96,"description":1217,"tags":1218,"thumbUrl":1221,"material":100,"size":1222,"collection":86,"collections":1223,"showCount":1224,"zanCount":280,"manualWeight":11,"mainColor":71},290765,"shang-yue-kong-shan-zhou-yi-ming-290765","赏月空山轴","秋江如练，扁舟缓行。舱内雅士对坐把盏，侍童在侧、舟子摇橹，将闲雅逸兴揉进烟波里。右侧崖壁高耸沉郁，木叶萧疏间月色晕开，江雾漫漶，晕染出朦胧空寂的天地。\n\n画作以边角取景，留白铺陈出清旷意境，苍劲水墨晕染烟水气象，把寄情山水的襟怀藏在冷寂江色中。简淡笔触勾勒江湖散人雅集的意趣，冷雾里晕开知己对晤的温煦暖意，虚实相生间尽显诗意禅心，将秋夜赏月的悠然尽揽卷中。",[24,27,28,29,7,60,1219,304,1220,34,31],"赏月","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc70193e460b155d3c81c96521c7014.jpg","71.7x93.3",[],149,{"id":1226,"slug":1227,"title":1228,"dynasty":18,"author":200,"museum":96,"description":1229,"tags":1230,"thumbUrl":1231,"material":331,"size":86,"collection":86,"collections":1232,"showCount":1233,"zanCount":592,"manualWeight":11,"mainColor":46},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,25,26,27,29,36,37,58,81,306,516,33,7,30,31,32,63,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":1235,"slug":1236,"title":1237,"dynasty":153,"author":200,"museum":1238,"description":1239,"tags":1240,"thumbUrl":1242,"material":100,"size":1243,"collection":42,"collections":1244,"showCount":1233,"zanCount":450,"manualWeight":11,"mainColor":71},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[24,25,215,229,27,28,29,61,7,84,158,1241,273],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[42],{"id":1246,"slug":1247,"title":1248,"dynasty":153,"author":154,"museum":467,"description":1249,"tags":1250,"thumbUrl":1251,"material":748,"size":1252,"collection":42,"collections":1253,"showCount":1254,"zanCount":592,"manualWeight":11,"mainColor":46},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[23,55,24,25,694,27,36,29,7,216,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[42],145,{"id":1256,"slug":1257,"title":466,"dynasty":153,"author":187,"museum":467,"description":1258,"tags":1259,"thumbUrl":1261,"material":471,"size":472,"collection":162,"collections":1262,"showCount":1263,"zanCount":450,"manualWeight":11,"mainColor":71},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,25,26,27,36,1260,29,32,661,84,141,31,7,58],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[162,42,131],144,{"id":1265,"slug":1266,"title":1267,"dynasty":153,"author":525,"museum":1268,"description":1269,"tags":1270,"thumbUrl":1273,"material":249,"size":1274,"collection":86,"collections":1275,"showCount":1263,"zanCount":450,"manualWeight":11,"mainColor":71},219192,"xiao-xiang-ba-jing-yu-cun-xi-zhao-mu-xi-219192","潇湘八景-渔村夕照","根津美术馆","烟霭似梦，轻覆潇湘水畔。远山如黛，在朦胧雾气中层层隐现，墨色浓淡间藏着天地的悠远。近岸林木苍劲，枝桠舒展，与嶙峋山石相映。水面上扁舟缓行，渔人影绰，似在暮色里寻归处。几处屋舍疏落，隐于树影烟岚间，不闻喧嚣，唯余静谧。\n\n水墨晕染出夕照的温柔，没有浓艳色彩，却以极简之笔勾勒出渔村黄昏的禅意空灵——天地人在此相融，时光仿佛停滞，只留山水与自然的清寂对话。每一处墨痕都藏着野趣与淡泊，让观者沉浸在这份恬淡悠远的意境里，似能听见风过林梢、水拍船舷的轻响，忘却尘俗纷扰。",[23,55,24,25,27,36,29,7,33,1271,481,1272],"烟雾","渔村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0abab9aa023a77aaf3089f0f4a2f97.jpg","33x112厘米",[],{"id":1277,"slug":1278,"title":1279,"dynasty":109,"author":597,"museum":138,"description":1280,"tags":1281,"thumbUrl":1283,"material":1284,"size":1285,"collection":42,"collections":1286,"showCount":1287,"zanCount":592,"manualWeight":11,"mainColor":46},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[24,215,27,114,36,29,174,246,34,7,1282,273,505],"钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纸本，墨笔","纵197.5厘米，横57.3厘米",[42],143,{"id":1289,"slug":1290,"title":1291,"dynasty":153,"author":315,"museum":96,"description":1292,"tags":1293,"thumbUrl":1294,"material":27,"size":1295,"collection":131,"collections":1296,"showCount":1297,"zanCount":11,"manualWeight":11,"mainColor":71},219305,"xue-jing-tu-ma-yuan-219305","雪景图","寒江凝碧，积雪封峦。斧劈皴笔力劲挺，岩骨嶙峋间覆雪如素缟，勾勒出山川冷峻骨相。山间屋舍隐于松竹，窗棂似映暖光，与屋外冰清玉洁相映成趣。枯树虬枝盘结，苍松傲立雪中，墨色浓淡间藏生机。远处小径偶有人影，江畔一舟独泊，孤影横斜，更添天地清寂。边角取景拓深意境，雪景素净与笔墨苍劲交融，绘尽寒冬凛冽，又藏文人幽居雅韵，冷寂中透着温润生机，尽显山水之魂。",[24,25,27,36,215,29,371,35,33,158,7,174,273,1030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc179aedb48ce076562be32fe7e077397.jpg","163.3x82.4厘米",[131],142,{"id":1299,"slug":1300,"title":1301,"dynasty":109,"author":1302,"museum":138,"description":1303,"tags":1304,"thumbUrl":1305,"material":1306,"size":1307,"collection":42,"collections":1308,"showCount":1309,"zanCount":11,"manualWeight":11,"mainColor":182},236271,"chui-gan-tu-zhou-kun-can-236271","垂竿图轴","髡残","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[24,25,215,27,36,29,7,31,33,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8841336c541c74149b055689d57ca9.jpg","纸本 ，淡设色","纵290cm，横131.5cm",[42],141,{"id":1311,"slug":1312,"title":1313,"dynasty":109,"author":500,"museum":490,"description":1163,"tags":1314,"thumbUrl":1315,"material":40,"size":1166,"collection":86,"collections":1316,"showCount":1317,"zanCount":592,"manualWeight":11,"mainColor":46},214890,"shan-shui-tu-ce-3-shi-tao-214890","山水图册-3",[23,24,25,230,27,28,36,29,7,31,34,33,143,60,1083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f99fe4ff77ab4950fd6bc2d79236725.jpg",[],140,{"id":1319,"slug":1320,"title":1321,"dynasty":153,"author":1322,"museum":138,"description":1323,"tags":1324,"thumbUrl":1325,"material":1178,"size":1326,"collection":162,"collections":1327,"showCount":1328,"zanCount":450,"manualWeight":11,"mainColor":46},221420,"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","王诜","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[23,24,27,694,29,7,34,31,60,174,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","24.8 x 28.1 CM",[162,42,131],137,{"id":1330,"slug":1331,"title":1332,"dynasty":153,"author":154,"museum":408,"description":1333,"tags":1334,"thumbUrl":1335,"material":100,"size":86,"collection":162,"collections":1336,"showCount":1328,"zanCount":11,"manualWeight":11,"mainColor":46},219858,"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","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， 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。",[23,24,27,36,29,7,175,63,481,84,868,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[162],{"id":1338,"slug":1339,"title":1340,"dynasty":153,"author":315,"museum":78,"description":1341,"tags":1342,"thumbUrl":1343,"material":100,"size":1344,"collection":42,"collections":1345,"showCount":1328,"zanCount":11,"manualWeight":11,"mainColor":71},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[24,55,694,29,27,28,36,7,60,216,141,996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[42],{"id":1347,"slug":1348,"title":1349,"dynasty":109,"author":1350,"museum":78,"description":1351,"tags":1352,"thumbUrl":1353,"material":1354,"size":1355,"collection":42,"collections":1356,"showCount":1357,"zanCount":11,"manualWeight":11,"mainColor":46},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,230,27,28,29,174,7,30,31,371,34,329,58,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[42],136,{"id":1359,"slug":1360,"title":1361,"dynasty":153,"author":187,"museum":20,"description":1362,"tags":1363,"thumbUrl":1368,"material":748,"size":1369,"collection":42,"collections":1370,"showCount":1357,"zanCount":221,"manualWeight":11,"mainColor":71},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[55,24,25,215,27,29,1082,1364,1365,1366,1367,7,961,60],"古木","坡石","敞轩","平房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","纵 185.2、横 107.5 厘米",[42],{"id":1372,"slug":1373,"title":1374,"dynasty":109,"author":200,"museum":78,"description":1375,"tags":1376,"thumbUrl":1381,"material":359,"size":360,"collection":86,"collections":1382,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":46},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,26,1377,24,25,56,28,29,60,61,7,63,31,1378,174,34,1379,1380,58,37],"缂丝","亭榭","庭院","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":1385,"slug":1386,"title":1387,"dynasty":153,"author":187,"museum":96,"description":1388,"tags":1389,"thumbUrl":1390,"material":331,"size":1391,"collection":162,"collections":1392,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":71},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,24,245,215,36,27,29,370,7,30,174,35,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","194.3×111.1",[162,42,131],{"id":1394,"slug":1395,"title":1396,"dynasty":153,"author":779,"museum":96,"description":1397,"tags":1398,"thumbUrl":1400,"material":233,"size":86,"collection":162,"collections":1401,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":71},220247,"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。",[23,24,55,25,215,27,36,29,357,7,60,34,246,33,1399],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[162],{"id":1403,"slug":1404,"title":1405,"dynasty":109,"author":1406,"museum":467,"description":1407,"tags":1408,"thumbUrl":1410,"material":249,"size":1411,"collection":42,"collections":1412,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":46},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","吴历","这幅画是对王蒙溪山行旅的临摹。",[24,27,29,215,81,36,30,31,1409,33,34,7],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[42],134,{"id":1415,"slug":1416,"title":1417,"dynasty":94,"author":813,"museum":96,"description":1418,"tags":1419,"thumbUrl":1422,"material":249,"size":1423,"collection":42,"collections":1424,"showCount":1425,"zanCount":450,"manualWeight":11,"mainColor":46},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,55,25,26,27,36,38,58,29,1129,7,33,142,1420,1421],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[42],133,{"id":1427,"slug":1428,"title":1429,"dynasty":153,"author":154,"museum":20,"description":1430,"tags":1431,"thumbUrl":1432,"material":748,"size":1433,"collection":262,"collections":1434,"showCount":1435,"zanCount":592,"manualWeight":11,"mainColor":71},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,55,25,694,27,36,29,175,30,31,7,216,60,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[262],131,{"id":1437,"slug":1438,"title":1439,"dynasty":109,"author":1350,"museum":269,"description":1440,"tags":1441,"thumbUrl":1446,"material":588,"size":1447,"collection":86,"collections":1448,"showCount":1449,"zanCount":11,"manualWeight":11,"mainColor":71},222815,"fang-gu-si-ji-shan-shui-tu-fang-xing-hua-chun-yu-jiang-nan-wang-hui-222815","仿古四季山水图-仿杏花春雨江南","王翬 （1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,25,1442,28,36,29,30,31,7,84,661,35,142,1443,1444,1445,961],"仿古","杏花","春雨","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],126,{"id":1451,"slug":1452,"title":1453,"dynasty":109,"author":1302,"museum":490,"description":1454,"tags":1455,"thumbUrl":1456,"material":40,"size":1457,"collection":42,"collections":1458,"showCount":1449,"zanCount":11,"manualWeight":11,"mainColor":46},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡[kūn]残（1612年-1692年），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。",[23,24,25,29,27,36,174,7,31,142,329,143,33,771,246,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[42],{"id":1460,"slug":1461,"title":1462,"dynasty":153,"author":1463,"museum":96,"description":1464,"tags":1465,"thumbUrl":1466,"material":100,"size":1467,"collection":42,"collections":1468,"showCount":1469,"zanCount":450,"manualWeight":11,"mainColor":71},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","赵构","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[23,24,25,27,29,7,84,141,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[42],125,{"id":1471,"slug":1472,"title":1473,"dynasty":153,"author":200,"museum":96,"description":1474,"tags":1475,"thumbUrl":1477,"material":100,"size":1478,"collection":162,"collections":1479,"showCount":1469,"zanCount":592,"manualWeight":11,"mainColor":71},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,25,29,28,27,36,458,1476,30,31,7,216,175,32],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[162,42],{"id":1481,"slug":1482,"title":1483,"dynasty":94,"author":1484,"museum":1485,"description":1486,"tags":1487,"thumbUrl":1488,"material":100,"size":86,"collection":42,"collections":1489,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":71},218720,"teng-wang-ge-tu-wang-zhen-peng-218720","滕王阁图","王振鹏","美国普林斯顿大学美术馆","笔尖游走绢素，界尺起落间，滕王阁飞檐翘角如振翅鹏鸟，跃然眼前。斗拱层叠似琴键排开，梁柱线条刚劲含韵，每处榫卯藏着匠人之谨与画师之巧。楼阁依山傍水，石阶蜿蜒入林，与葱郁草木相映成趣。远山如黛，烟波浩渺，一叶孤舟在水天之际轻漾，为宏伟建筑添了空灵悠远。整幅画将建筑理性之美与山水诗意之韵交织，既见界画精准工致，又含文人画雅致情怀，让千年名楼的巍峨气象与天地灵秀之气，在古卷中静静流淌，尽显元代画坛独特风貌。",[23,24,25,229,82,27,29,61,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e4ffe86b2585108496c06f20abcf64.jpg",[42],{"id":1491,"slug":1492,"title":1493,"dynasty":18,"author":19,"museum":78,"description":1494,"tags":1495,"thumbUrl":1496,"material":359,"size":360,"collection":86,"collections":1497,"showCount":1498,"zanCount":450,"manualWeight":11,"mainColor":46},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,55,24,457,26,29,343,36,37,38,58,34,33,35,31,7,32,273,1051,1082,63,30,661,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":1500,"slug":1501,"title":1502,"dynasty":153,"author":1322,"museum":138,"description":1503,"tags":1504,"thumbUrl":1507,"material":1178,"size":1508,"collection":86,"collections":1509,"showCount":1498,"zanCount":592,"manualWeight":11,"mainColor":46},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,27,28,36,57,29,1272,1505,34,33,31,7,216,1506,30,63,143,37,38,58],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":1511,"slug":1512,"title":1513,"dynasty":18,"author":1514,"museum":96,"description":1515,"tags":1516,"thumbUrl":1517,"material":249,"size":1518,"collection":42,"collections":1519,"showCount":1498,"zanCount":592,"manualWeight":11,"mainColor":71},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","王绂","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[24,25,27,29,36,37,58,32,7,33,158,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[42],{"id":1521,"slug":1522,"title":1523,"dynasty":153,"author":154,"museum":96,"description":1524,"tags":1525,"thumbUrl":1531,"material":331,"size":1532,"collection":162,"collections":1533,"showCount":1534,"zanCount":11,"manualWeight":11,"mainColor":71},221572,"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","西湖柳艇图画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[23,55,24,27,215,29,1526,1527,1528,1529,1530,60,30,31,7,57],"柳树","长堤","水榭","湖舍","画舫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[162,42,131],123,{"id":1536,"slug":1537,"title":1538,"dynasty":94,"author":813,"museum":1539,"description":1540,"tags":1541,"thumbUrl":1544,"material":233,"size":1545,"collection":849,"collections":1546,"showCount":1534,"zanCount":221,"manualWeight":11,"mainColor":46},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,37,38,26,25,27,58,7,63,31,1542,1543,880],"孤松","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[849],{"id":1548,"slug":1549,"title":1550,"dynasty":1551,"author":1552,"museum":188,"description":1553,"tags":1554,"thumbUrl":1557,"material":40,"size":1558,"collection":42,"collections":1559,"showCount":1534,"zanCount":11,"manualWeight":11,"mainColor":46},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","民国","张大千","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,55,24,25,27,28,114,36,29,31,7,30,272,33,34,143,35,191,1555,1556],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[42,68],{"id":1561,"slug":1562,"title":1563,"dynasty":153,"author":187,"museum":1564,"description":1565,"tags":1566,"thumbUrl":1569,"material":100,"size":1570,"collection":42,"collections":1571,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":71},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,55,215,36,27,28,29,306,370,174,504,7,60,574,1567,422,1241,272,1568],"石","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[42],121,{"id":1574,"slug":1575,"title":1576,"dynasty":18,"author":558,"museum":96,"description":1577,"tags":1578,"thumbUrl":1583,"material":748,"size":1584,"collection":42,"collections":1585,"showCount":1572,"zanCount":335,"manualWeight":11,"mainColor":71},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,25,215,55,27,36,1579,1580,7,216,30,31,33,142,143,1581,1582,34],"风雨","归舟","舟楫","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[42],{"id":1587,"slug":1588,"title":1589,"dynasty":18,"author":19,"museum":78,"description":1590,"tags":1591,"thumbUrl":1593,"material":86,"size":86,"collection":86,"collections":1594,"showCount":1595,"zanCount":280,"manualWeight":11,"mainColor":46},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,55,24,26,27,28,29,175,30,31,7,216,1592,33,37,38,58],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],120,{"id":1597,"slug":1598,"title":1599,"dynasty":18,"author":19,"museum":20,"description":1600,"tags":1601,"thumbUrl":1604,"material":249,"size":1605,"collection":42,"collections":1606,"showCount":1595,"zanCount":592,"manualWeight":11,"mainColor":46},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,25,26,27,36,29,1602,1603,34,33,32,31,7,35,174,30],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[42],{"id":1608,"slug":1609,"title":1610,"dynasty":94,"author":432,"museum":20,"description":1611,"tags":1612,"thumbUrl":1613,"material":40,"size":1614,"collection":42,"collections":1615,"showCount":1616,"zanCount":11,"manualWeight":11,"mainColor":46},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,25,26,27,36,29,972,33,30,7,143,58,34,1052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[42],119,{"id":1618,"slug":1619,"title":1620,"dynasty":153,"author":525,"museum":927,"description":1621,"tags":1622,"thumbUrl":1624,"material":249,"size":1625,"collection":86,"collections":1626,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":46},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[23,24,25,245,27,114,1623,29,303,7,143,33,273],"渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],118,{"id":1629,"slug":1630,"title":1631,"dynasty":153,"author":200,"museum":96,"description":1632,"tags":1633,"thumbUrl":1634,"material":100,"size":1635,"collection":42,"collections":1636,"showCount":1627,"zanCount":450,"manualWeight":11,"mainColor":840},218651,"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[23,55,24,25,29,7,60,36,27,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[42],{"id":1638,"slug":1639,"title":1640,"dynasty":153,"author":1641,"museum":78,"description":1642,"tags":1643,"thumbUrl":1644,"material":86,"size":86,"collection":86,"collections":1645,"showCount":1646,"zanCount":592,"manualWeight":11,"mainColor":46},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,55,24,25,26,82,27,36,29,60,7,32,63,33,158,61,31,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],115,{"id":1648,"slug":1649,"title":1650,"dynasty":94,"author":607,"museum":96,"description":1651,"tags":1652,"thumbUrl":1654,"material":160,"size":1655,"collection":42,"collections":1656,"showCount":1657,"zanCount":592,"manualWeight":11,"mainColor":46},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[23,24,27,36,215,37,29,33,34,7,63,505,273,1653,996,58],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[42,131],114,{"id":1659,"slug":1660,"title":1661,"dynasty":94,"author":607,"museum":96,"description":1662,"tags":1663,"thumbUrl":1664,"material":100,"size":1665,"collection":42,"collections":1666,"showCount":1657,"zanCount":592,"manualWeight":11,"mainColor":46},218388,"song-ren-yuan-hua-ce-shan-shui-sheng-mao-218388","宋人院画册-山水","近处林木扶疏，枝干盘曲间，新绿与苍劲交织，生机隐现。水面平展如镜，一叶扁舟轻泊岸畔，船中人似伴流云静水，独享片刻悠然。远山如黛，以淡墨晕染出朦胧层次，云雾轻缠峰峦，将视野引向天际的悠远。笔墨兼具工致与写意，绢本的温润质感，更衬出画面的古雅韵致。整体意境清旷淡远，如一首静默的山水短章，藏着文人对自然的眷恋，于静谧中流淌着岁月的安然与从容。",[24,694,28,29,7,216,63,84,273,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg","35.2x63.4",[42],{"id":1668,"slug":1669,"title":1670,"dynasty":18,"author":51,"museum":96,"description":1671,"tags":1672,"thumbUrl":1675,"material":100,"size":1676,"collection":42,"collections":1677,"showCount":1678,"zanCount":280,"manualWeight":11,"mainColor":71},222204,"qiu-jiang-dai-du-zhou-chou-ying-222204","秋江待渡轴","此幅用笔极工，盖实父着意之作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[23,55,24,25,215,28,57,36,29,60,792,7,1673,34,33,1674],"秋树","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","155.4x133.4公分",[42,68],112,{"id":1680,"slug":1681,"title":1682,"dynasty":94,"author":1683,"museum":138,"description":1684,"tags":1685,"thumbUrl":1691,"material":1284,"size":1692,"collection":42,"collections":1693,"showCount":1694,"zanCount":280,"manualWeight":11,"mainColor":46},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,25,26,27,36,58,29,422,84,7,1209,34,505,1686,60,1687,868,329,1688,1142,357,174,539,771,1689,1690,1582],"渔船","远岫","枝干","山间","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[42,131],111,{"id":1696,"slug":1697,"title":1698,"dynasty":153,"author":969,"museum":96,"description":1699,"tags":1700,"thumbUrl":1703,"material":1178,"size":1704,"collection":162,"collections":1705,"showCount":1694,"zanCount":11,"manualWeight":11,"mainColor":71},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[23,26,57,36,27,28,38,1701,58,29,7,1702,33,34,1581],"楷书","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[162,42,131],{"id":1707,"slug":1708,"title":1709,"dynasty":153,"author":1710,"museum":1048,"description":1711,"tags":1712,"thumbUrl":1713,"material":249,"size":1714,"collection":42,"collections":1715,"showCount":1694,"zanCount":592,"manualWeight":11,"mainColor":46},218637,"yun-shan-tu-mi-you-ren-218637","云山图","米友仁","画面上群山耸立，半山腰上云雾缭绕，山脚下隐约可见一排排房屋、一座座小桥和船只，泥泞的平原上有几棵水墨画般的树木，树干细长，枝叶茂密。",[23,24,25,27,36,38,29,880,306,422,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370b493c400d975bccc00e55e62a050b.jpg","27.8x23.5",[42],{"id":1717,"slug":1718,"title":1719,"dynasty":153,"author":315,"museum":188,"description":1720,"tags":1721,"thumbUrl":1724,"material":100,"size":1725,"collection":42,"collections":1726,"showCount":1727,"zanCount":280,"manualWeight":11,"mainColor":71},218579,"ye-chuan-dai-du-tu-ma-yuan-218579","野川待渡图","烟波浩渺的水面上，淡墨晕染的远山若隐若现，与空濛的天际相融，漾开无尽悠远。近岸林木苍劲，枝干盘曲如虬，浓墨点染的叶丛间透着生机。岸边人影错落，或伫立待渡，或舟中轻楫，动静相宜间，藏着几分江南水乡的日常意趣。画面以边角构图见阔远，留白处藏万千思绪，将清寂与悠远凝于绢素，尽显宋人山水的空灵之境，仿佛能闻得水面风吟，见得旅人归心。",[55,24,25,27,28,36,1722,29,246,60,7,33,273,158,1723,1653],"边角山水","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa886c296b26cb11f3bfc2ae180ea3d33.jpg","27x94.5cm",[42],110,{"id":1729,"slug":1730,"title":1731,"dynasty":94,"author":607,"museum":571,"description":1732,"tags":1733,"thumbUrl":1734,"material":588,"size":1735,"collection":42,"collections":1736,"showCount":1737,"zanCount":280,"manualWeight":11,"mainColor":71},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,24,25,215,28,36,29,32,7,33,34,60,31,804,770,1379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[42,68],109,{"id":1739,"slug":1740,"title":1741,"dynasty":153,"author":187,"museum":96,"description":1742,"tags":1743,"thumbUrl":1744,"material":748,"size":1745,"collection":162,"collections":1746,"showCount":1747,"zanCount":11,"manualWeight":11,"mainColor":71},288542,"xue-jing-shan-shui-tu-guo-xi-288542","雪景山水图","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。",[23,55,24,29,27,371,30,31,7,61,174,34,704,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[162],108,{"id":1749,"slug":1750,"title":1751,"dynasty":153,"author":1752,"museum":1027,"description":1753,"tags":1754,"thumbUrl":1755,"material":100,"size":1756,"collection":162,"collections":1757,"showCount":1747,"zanCount":11,"manualWeight":11,"mainColor":46},218643,"yue-xia-yu-she-tu-gu-liang-218643","月下渔舍图","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[23,24,55,25,29,28,303,175,7,84,34,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[162],{"id":1759,"slug":1760,"title":1761,"dynasty":109,"author":500,"museum":490,"description":1163,"tags":1762,"thumbUrl":1763,"material":40,"size":1166,"collection":86,"collections":1764,"showCount":1747,"zanCount":11,"manualWeight":11,"mainColor":46},214889,"shan-shui-tu-ce-4-shi-tao-214889","山水图册-4",[23,24,27,36,230,37,58,29,31,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d80b1de337411d72d248e61d4a115b1.jpg",[],{"id":1766,"slug":1767,"title":339,"dynasty":153,"author":779,"museum":78,"description":1768,"tags":1769,"thumbUrl":1770,"material":28,"size":86,"collection":162,"collections":1771,"showCount":1772,"zanCount":11,"manualWeight":11,"mainColor":71},221441,"shan-shui-tu-li-cheng-221441","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,25,55,27,36,28,29,972,30,31,7,33,158,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[162,42,131],107,{"id":1774,"slug":1775,"title":1776,"dynasty":153,"author":187,"museum":96,"description":1777,"tags":1778,"thumbUrl":1780,"material":128,"size":1781,"collection":162,"collections":1782,"showCount":1772,"zanCount":592,"manualWeight":11,"mainColor":71},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","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。",[23,24,25,26,29,36,27,142,33,174,30,31,7,562,1779,273,1030,35],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[162,42,131],{"id":1784,"slug":1785,"title":1786,"dynasty":18,"author":1787,"museum":408,"description":1788,"tags":1789,"thumbUrl":1795,"material":40,"size":1796,"collection":42,"collections":1797,"showCount":1798,"zanCount":592,"manualWeight":11,"mainColor":46},220376,"han-lin-fei-xue-tu-wen-zheng-ming-220376","寒林飞雪图","文徵明","此图是画唐代诗人许浑”舟横野渡寒风急，门掩深山夜雪深“的诗意，而用李营丘笔意，深得寒江寂寂，雪峰无言之境。",[23,24,27,245,997,1790,1791,1792,1793,7,397,61,174,32,1794],"飞雪","雪峰","深山","野渡","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7247001349454a60fdcd1b8936e7b822.jpg","101.1x46.5厘米",[42,131],106,{"id":1800,"slug":1801,"title":1802,"dynasty":1551,"author":1803,"museum":1804,"description":1805,"tags":1806,"thumbUrl":1807,"material":1808,"size":86,"collection":86,"collections":1809,"showCount":1810,"zanCount":11,"manualWeight":11,"mainColor":46},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","黄宾虹","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[24,27,36,29,7,32,33,34,31,25,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],105,{"id":1812,"slug":1813,"title":1814,"dynasty":109,"author":1350,"museum":78,"description":1815,"tags":1816,"thumbUrl":1828,"material":86,"size":86,"collection":86,"collections":1829,"showCount":1830,"zanCount":11,"manualWeight":11,"mainColor":46},224449,"tang-yin-shi-yi-tu-li-zhou-wang-hui-224449","唐寅诗意图立轴","此作取景虚实相映，笔意苍秀兼具。右侧危崖层叠，斧劈皴勾勒出山岩厚重质感，苔点晕染让山石愈发生动，崖顶山居藏在深林之中，清寂出尘。左侧烟水浩淼，汀渚林木错落，远处楼阁隐在薄雾间，晕染出空濛烟雨之态。浅滩孤舟随波，渔翁独钓，漾出幽淡闲远的林下意趣。浅绛设色柔和雅致，将宋画的精工与元人山水的萧散相融，把林泉隐逸之思，铺陈为可游可居的湖山胜境，尽显文人山水画里悠远澹泊的雅韵。",[23,24,55,25,215,1817,28,1818,1819,1820,704,1821,61,7,1506,1220,1822,1823,1824,1825,1826,1827],"文人山水画","浅绛","斧劈皴","危崖","烟水","湖山","隐逸","澹泊","苍秀","萧散","精工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebebd62a991bc27c793316c7c0ff81.jpg",[],104,{"id":1832,"slug":1833,"title":1631,"dynasty":153,"author":1834,"museum":1835,"description":1836,"tags":1837,"thumbUrl":1839,"material":100,"size":1840,"collection":162,"collections":1841,"showCount":1842,"zanCount":450,"manualWeight":11,"mainColor":46},218561,"chi-bi-tu-yang-shi-xian-218561","杨士贤","波士顿美术馆","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[23,24,25,26,27,28,36,29,7,303,305,1838,33,37,38,58],"风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[162,42],103,{"id":1844,"slug":1845,"title":1846,"dynasty":94,"author":242,"museum":96,"description":1847,"tags":1848,"thumbUrl":1849,"material":748,"size":1850,"collection":42,"collections":1851,"showCount":1852,"zanCount":11,"manualWeight":11,"mainColor":46},218763,"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[23,24,25,27,36,29,31,7,30,34,33,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[42],102,{"id":1854,"slug":1855,"title":1856,"dynasty":153,"author":200,"museum":1835,"description":1857,"tags":1858,"thumbUrl":1863,"material":100,"size":1864,"collection":162,"collections":1865,"showCount":1866,"zanCount":450,"manualWeight":11,"mainColor":71},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,24,25,26,28,57,37,60,29,32,30,31,7,33,61,1859,1860,1861,1862],"笔","墨","纸","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[162],101,{"id":1868,"slug":1869,"title":1870,"dynasty":94,"author":1871,"museum":467,"description":1872,"tags":1873,"thumbUrl":1876,"material":100,"size":86,"collection":42,"collections":1877,"showCount":1866,"zanCount":280,"manualWeight":11,"mainColor":71},214843,"gu-he-heng-jiang-tu-zhao-yong-214843","孤鹤横江图","赵雍",""孤鹤横江图" 是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[23,24,25,29,694,27,28,357,34,792,7,60,142,1874,1875],"红叶树","孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[42],{"id":1879,"slug":1880,"title":1881,"dynasty":153,"author":154,"museum":467,"description":1882,"tags":1883,"thumbUrl":1884,"material":1885,"size":1886,"collection":162,"collections":1887,"showCount":1888,"zanCount":11,"manualWeight":11,"mainColor":71},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。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， 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，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,25,27,29,31,7,216,175,84,141,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","绢本水墨","23.2x23.8厘米",[162,42,68],100,{"id":1890,"slug":1891,"title":1892,"dynasty":153,"author":187,"museum":78,"description":1893,"tags":1894,"thumbUrl":1895,"material":359,"size":360,"collection":86,"collections":1896,"showCount":1897,"zanCount":11,"manualWeight":11,"mainColor":71},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","秋山行旅图","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。",[23,55,24,215,245,27,36,29,61,30,31,7,63,661,84,34,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":1899,"slug":1900,"title":1901,"dynasty":94,"author":242,"museum":96,"description":1902,"tags":1903,"thumbUrl":1904,"material":249,"size":1905,"collection":86,"collections":1906,"showCount":1897,"zanCount":280,"manualWeight":11,"mainColor":71},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[55,24,25,215,27,29,31,7,84,58,37,36,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],{"id":1908,"slug":1909,"title":1910,"dynasty":153,"author":187,"museum":78,"description":1911,"tags":1912,"thumbUrl":1913,"material":86,"size":86,"collection":86,"collections":1914,"showCount":1915,"zanCount":592,"manualWeight":11,"mainColor":71},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[23,24,55,25,26,28,36,29,60,30,31,34,33,7,32,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],98,{"id":1917,"slug":1918,"title":801,"dynasty":18,"author":326,"museum":96,"description":1919,"tags":1920,"thumbUrl":1922,"material":128,"size":1923,"collection":42,"collections":1924,"showCount":1915,"zanCount":11,"manualWeight":11,"mainColor":71},219972,"hua-xi-yu-yin-tu-tang-yin-219972","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[23,24,25,27,28,36,29,357,158,31,7,60,33,1921,58],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[42],{"id":1926,"slug":1927,"title":1928,"dynasty":285,"author":1929,"museum":96,"description":1930,"tags":1931,"thumbUrl":1933,"material":249,"size":1934,"collection":42,"collections":1935,"showCount":1915,"zanCount":11,"manualWeight":11,"mainColor":46},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,55,25,26,27,36,38,37,58,29,34,33,272,1932,7,143,142,804],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[42],{"id":1937,"slug":1938,"title":1939,"dynasty":18,"author":558,"museum":733,"description":1940,"tags":1941,"thumbUrl":1943,"material":40,"size":1944,"collection":42,"collections":1945,"showCount":1946,"zanCount":11,"manualWeight":11,"mainColor":46},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,25,26,27,28,29,36,175,7,63,84,31,34,1942,216,32,33],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[42,68],97,{"id":1948,"slug":1949,"title":1950,"dynasty":18,"author":1951,"museum":188,"description":1952,"tags":1953,"thumbUrl":1954,"material":249,"size":86,"collection":42,"collections":1955,"showCount":1946,"zanCount":592,"manualWeight":11,"mainColor":71},217058,"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[24,27,36,29,7,31,272,33,34,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[42],{"id":1957,"slug":1958,"title":1959,"dynasty":94,"author":242,"museum":467,"description":1960,"tags":1961,"thumbUrl":1963,"material":233,"size":1964,"collection":42,"collections":1965,"showCount":1966,"zanCount":280,"manualWeight":11,"mainColor":46},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[23,24,25,27,36,114,29,7,31,33,996,1506,216,1962,505],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[42,131],96,{"id":1968,"slug":1969,"title":1970,"dynasty":1551,"author":1803,"museum":1971,"description":1972,"tags":1973,"thumbUrl":1974,"material":1975,"size":86,"collection":86,"collections":1976,"showCount":1966,"zanCount":11,"manualWeight":11,"mainColor":46},220577,"bin-hong-mo-miao-huang-bin-hong-220577","宾虹墨妙","中央美术学院美术馆","这幅山水以双峰对峙构景，留白作水湾，山麓渔村茅舍错落，滩头枯木虬曲苍劲，水面扁舟轻泛，野逸之趣扑面而来。\n\n以焦墨积墨写山，皴擦点染间尽显山峦浑厚华滋，墨色浓淡相生，带着萧疏清寂的冬日况味，将山川静穆幽深藏于笔底。题款行书朴拙苍劲，与画面浑融一体，文人意趣尽显。整体意境清寂淡远，于简淡中见苍茫，寥寥数笔便勾勒出山水灵秀静谧，尽显水墨写意的通透韵致，藏着独有的山水襟怀。",[24,25,27,36,29,7,84,35,246,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdef6faf38959b0a429a84507d8f8ac0.jpg","墨笔设色、 纸本水墨",[],{"id":1978,"slug":1979,"title":1980,"dynasty":18,"author":51,"museum":96,"description":1981,"tags":1982,"thumbUrl":1985,"material":100,"size":1986,"collection":42,"collections":1987,"showCount":1966,"zanCount":11,"manualWeight":11,"mainColor":46},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[24,25,230,81,28,57,29,1983,1984,7,63,32],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[42],{"id":1989,"slug":1990,"title":1991,"dynasty":109,"author":500,"museum":138,"description":1992,"tags":1993,"thumbUrl":1995,"material":233,"size":1996,"collection":86,"collections":1997,"showCount":1998,"zanCount":592,"manualWeight":11,"mainColor":46},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,1994,27,36,29,158,33,31,7,60,272,357,34],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],94,{"id":2000,"slug":2001,"title":2002,"dynasty":94,"author":513,"museum":467,"description":2003,"tags":2004,"thumbUrl":2005,"material":100,"size":2006,"collection":262,"collections":2007,"showCount":1998,"zanCount":592,"manualWeight":11,"mainColor":46},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[23,55,24,25,26,28,57,38,58,29,60,7,33,31,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[262,68,849],{"id":2009,"slug":2010,"title":2011,"dynasty":153,"author":200,"museum":733,"description":2012,"tags":2013,"thumbUrl":2018,"material":100,"size":1064,"collection":262,"collections":2019,"showCount":1998,"zanCount":450,"manualWeight":11,"mainColor":46},218235,"luo-shen-fu-tu-yi-ming-218235","洛神赋图","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,55,24,25,26,28,57,60,83,2014,7,31,33,1061,2015,63,2016,2017],"洛神","仙禽异兽","怅惘","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[262],{"id":2021,"slug":2022,"title":2023,"dynasty":109,"author":500,"museum":720,"description":2024,"tags":2025,"thumbUrl":2026,"material":233,"size":2027,"collection":86,"collections":2028,"showCount":2029,"zanCount":592,"manualWeight":11,"mainColor":46},231362,"qin-huai-he-tu-shi-tao-231362","秦淮河图","石涛与弘仁、髡残、朱耷合称“清初四僧”，在中国书画史上影响巨大。本博分享的石涛国画作品，选自美国弗利尔美术馆（Freer Gallery of Art）珍藏的金陵山水册页：《金陵怀古册》，画面多为金陵（今南京）之景。作品中可以看出，石涛用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,27,28,36,29,7,60,174,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfce3ea245449c5759644e50c10c5ea.jpg","25.5 x 20.2厘米",[],93,{"id":2031,"slug":2032,"title":1631,"dynasty":153,"author":2033,"museum":96,"description":2034,"tags":2035,"thumbUrl":2037,"material":233,"size":2038,"collection":86,"collections":2039,"showCount":2040,"zanCount":450,"manualWeight":11,"mainColor":46},232841,"chi-bi-tu-wu-yuan-zhi-232841","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,25,26,27,36,29,7,2036,33,792,273,1030,142,143,769],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],92,{"id":2042,"slug":2043,"title":2044,"dynasty":94,"author":2045,"museum":138,"description":2046,"tags":2047,"thumbUrl":2048,"material":249,"size":2049,"collection":42,"collections":2050,"showCount":2040,"zanCount":280,"manualWeight":11,"mainColor":182},218304,"jiang-shan-xue-ji-tu-wu-jin-218304","江山雪霁图","吴瑾","寒江雪霁，天地归于素净。孤峰列峙，覆雪的岩壁透着冷峭；疏林枯木，枝桠苍劲如铁，似在寒风中守着一份清寂。江面上薄雾轻笼，一叶扁舟漾开微澜，舟中隐见人影，独对这空阔山水。笔墨淡润，山石以简皴晕染，留白处尽现雪的洁净；树木勾勒简练却含古意，每一笔都藏着文人的疏阔心境。整幅画无喧嚣，唯有静谧漫溢——雪落的轻响、江风的微痕，都凝在这方天地里，将冬日的清寒与悠远，酿成一杯可饮的孤寂，又透着几分超脱尘俗的淡然。",[24,55,25,27,36,245,306,370,422,7,792,158,371,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[42],{"id":2052,"slug":2053,"title":339,"dynasty":109,"author":2054,"museum":269,"description":2055,"tags":2056,"thumbUrl":2057,"material":40,"size":2058,"collection":42,"collections":2059,"showCount":2040,"zanCount":592,"manualWeight":11,"mainColor":46},214692,"shan-shui-tu-cha-shi-biao-214692","查士标","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[23,24,29,27,36,38,1526,246,247,60,961,33,7,273,1051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[42],{"id":2061,"slug":2062,"title":2063,"dynasty":94,"author":2064,"museum":78,"description":2065,"tags":2066,"thumbUrl":2067,"material":359,"size":360,"collection":86,"collections":2068,"showCount":2069,"zanCount":592,"manualWeight":11,"mainColor":46},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,25,26,27,36,38,58,37,29,816,1209,7,60,33,31,141,32,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],91,{"id":2071,"slug":2072,"title":2073,"dynasty":109,"author":500,"museum":78,"description":2074,"tags":2075,"thumbUrl":2076,"material":86,"size":86,"collection":86,"collections":2077,"showCount":2069,"zanCount":592,"manualWeight":11,"mainColor":46},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,26,28,29,36,38,58,37,59,7,63,61,30,31,32,33,34,143,1409,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":2079,"slug":2080,"title":2081,"dynasty":18,"author":2082,"museum":720,"description":2083,"tags":2084,"thumbUrl":2086,"material":100,"size":2087,"collection":262,"collections":2088,"showCount":2069,"zanCount":221,"manualWeight":11,"mainColor":71},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,25,26,29,28,36,60,30,31,7,216,61,33,34,1686,329,143,1579,2085],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[262,68],{"id":2090,"slug":2091,"title":2092,"dynasty":94,"author":2093,"museum":20,"description":2094,"tags":2095,"thumbUrl":2096,"material":748,"size":2097,"collection":42,"collections":2098,"showCount":2069,"zanCount":592,"manualWeight":11,"mainColor":71},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[55,24,25,229,27,61,29,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 横26厘米",[42],{"id":2100,"slug":2101,"title":2102,"dynasty":109,"author":648,"museum":78,"description":2103,"tags":2104,"thumbUrl":2105,"material":86,"size":86,"collection":42,"collections":2106,"showCount":2107,"zanCount":11,"manualWeight":11,"mainColor":46},237098,"yun-shou-ping-hu-shan-tu-zhou-yun-shou-ping-237098","恽寿平湖山图轴","恽寿平(初名格；1633—1690)，字寿平，以字行，又字正叔，别号南田，一号白云外史、云溪史、东园客、巢枫客、草衣生、横山樵者。江苏武进人，清代著名画家。\n创常州派，为清朝“一代之冠”。特点是以潇洒秀逸的用笔直接点蘸颜色敷染成画，讲究形似，但又不以形似为满足，有文人画的情调、韵味。其山水画亦有很高成就，以神韵、情趣取胜，与“四王”、吴历并称“清初六大家”。他又善诗文和书法，诗被誉为“毗陵六逸之冠”。书法主要学褚遂良，被称为“恽体”。",[24,25,215,27,36,29,7,1526,34,143,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edf4c0fe6fe2640f88f0e56ef758d77.jpg",[42],90,{"id":2109,"slug":2110,"title":419,"dynasty":94,"author":242,"museum":78,"description":2111,"tags":2112,"thumbUrl":2115,"material":86,"size":86,"collection":86,"collections":2116,"showCount":2107,"zanCount":11,"manualWeight":11,"mainColor":71},228011,"yu-fu-tu-wu-zhen-228011","《渔父图》是元代画家 创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[23,24,27,36,215,29,7,2113,174,84,34,273,505,33,2114],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],{"id":2118,"slug":2119,"title":2120,"dynasty":109,"author":648,"museum":138,"description":2121,"tags":2122,"thumbUrl":2123,"material":177,"size":2124,"collection":42,"collections":2125,"showCount":2107,"zanCount":11,"manualWeight":11,"mainColor":46},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,25,230,27,28,29,61,30,7,63,33,34,143,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[42,131],{"id":2127,"slug":2128,"title":2129,"dynasty":94,"author":242,"museum":138,"description":2130,"tags":2131,"thumbUrl":2133,"material":128,"size":2134,"collection":42,"collections":2135,"showCount":2107,"zanCount":592,"manualWeight":11,"mainColor":71},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[23,24,25,215,27,36,58,7,216,2132,63,29],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[42,131],{"id":2137,"slug":2138,"title":2139,"dynasty":153,"author":154,"museum":467,"description":1333,"tags":2140,"thumbUrl":2141,"material":2142,"size":2143,"collection":162,"collections":2144,"showCount":2145,"zanCount":11,"manualWeight":11,"mainColor":46},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷",[23,24,25,26,27,36,29,7,305,422,972,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","纸本 水墨","29.3x376",[162,42,131],89,{"id":2147,"slug":2148,"title":2149,"dynasty":109,"author":500,"museum":78,"description":2150,"tags":2151,"thumbUrl":2152,"material":86,"size":86,"collection":42,"collections":2153,"showCount":2154,"zanCount":592,"manualWeight":11,"mainColor":46},234647,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234647","原济金陵十景图册","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。",[24,27,38,230,29,7,63,505,142,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6020bc5a26b64366dfa9a8384032aebb.jpg",[42],88,{"id":2156,"slug":2157,"title":2158,"dynasty":352,"author":2159,"museum":96,"description":2160,"tags":2161,"thumbUrl":2162,"material":128,"size":2163,"collection":42,"collections":2164,"showCount":2154,"zanCount":11,"manualWeight":11,"mainColor":71},221095,"long-chi-jing-du-tu-li-zhao-dao-221095","龙池竞渡图","李昭道","大致在宋、元时期，涌现出了一批以反映园林建筑为主要题材的绘画作品，这种充满人文景观的建筑绘画作品，除了表现技巧上的成熟外，也营造出一种全新的绘画艺术形式，形成以楼图为主体、以山水为背景、以人物舟车为点缀的界画艺术",[23,24,25,694,56,28,229,29,61,30,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dff8d35255766cbed16cb1427c7429.jpg","28.5x29.7cm",[42,68],{"id":2166,"slug":2167,"title":2168,"dynasty":285,"author":1929,"museum":1048,"description":1930,"tags":2169,"thumbUrl":2170,"material":748,"size":2171,"collection":42,"collections":2172,"showCount":2154,"zanCount":592,"manualWeight":11,"mainColor":71},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[23,55,24,25,26,27,29,143,157,33,142,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[42],{"id":2174,"slug":2175,"title":2176,"dynasty":153,"author":2177,"museum":490,"description":2178,"tags":2179,"thumbUrl":2180,"material":748,"size":86,"collection":162,"collections":2181,"showCount":2182,"zanCount":11,"manualWeight":11,"mainColor":71},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","赵令穰","画面以大片空寂底色铺就，将月夜江天的辽远清寒尽数晕开。扁舟横卧水面，舟中二人意态悠然，一人凭舷凝望悬垂的冷月，一人垂竿静候，寥寥数笔便勾勒出闲逸松弛的林下幽情。淡墨轻皴出水波微漾，朦胧月色漫过空阔江面，将天地晕成浑然一色的清寂。边角的古印题字晕染出古雅厚重，整幅画作以极简之笔写尽淡远萧疏的意趣，把文人寄情烟波、物我两忘的幽淡心境藏在空寂月色里，尽显水墨山水以少胜多的诗意禅味。",[55,24,25,27,82,28,60,7,303,58,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[162],87,{"id":2184,"slug":2185,"title":2186,"dynasty":94,"author":607,"museum":96,"description":2187,"tags":2188,"thumbUrl":2191,"material":100,"size":2192,"collection":42,"collections":2193,"showCount":2182,"zanCount":280,"manualWeight":11,"mainColor":46},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[23,24,27,29,36,31,7,216,32,84,30,1082,2189,273,2190,673],"岸树","溪面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[42],{"id":2195,"slug":2196,"title":2197,"dynasty":18,"author":2198,"museum":1027,"description":2199,"tags":2200,"thumbUrl":2201,"material":100,"size":2202,"collection":42,"collections":2203,"showCount":2182,"zanCount":11,"manualWeight":11,"mainColor":71},218261,"song-xia-wen-yu-tu-wu-wei-218261","松下问渔图","吴伟","虬松盘曲如铁，枝桠垂覆江畔。两位士人对坐石上促膝清谈，旁侧渔舟静泊，篙楫斜倚。远山含黛，烟霭轻笼，天地间漫着淡远暮色。笔墨苍劲洒脱，松干以浓墨皴擦显肌理，人物衣纹简括传神，寥寥数笔便现悠然神态。山水用淡墨晕染，虚实相生，烟波浩渺中藏无尽悠远。士人问渔，似叩问江湖意趣，亦或人生真味？画面动静相契，渔舟静谧与松风隐动、士人低语与山水无言交织，成一段清雅林下之思。笔墨纵逸却不失韵致，融山水之幽与人文之趣，尽显笔势见长的意趣盎然，引人沉潜其中。",[23,24,27,28,36,60,357,7,34,505,273,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf277986b88ae0aa20f1e4c29aa19150.jpg","218.2x148cm",[42],{"id":2205,"slug":2206,"title":2207,"dynasty":153,"author":607,"museum":96,"description":2208,"tags":2209,"thumbUrl":1664,"material":28,"size":86,"collection":162,"collections":2211,"showCount":2212,"zanCount":11,"manualWeight":11,"mainColor":46},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[23,24,25,230,28,29,7,216,63,33,31,175,273,2210,247],"近树",[162],86,{"id":2214,"slug":2215,"title":2216,"dynasty":153,"author":315,"museum":733,"description":2217,"tags":2218,"thumbUrl":2219,"material":249,"size":2220,"collection":42,"collections":2221,"showCount":2222,"zanCount":592,"manualWeight":11,"mainColor":71},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[24,25,29,215,28,36,7,32,60,31,84,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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x 86.3 cm",[42],85,{"id":2224,"slug":2225,"title":2226,"dynasty":109,"author":1350,"museum":269,"description":2227,"tags":2228,"thumbUrl":2230,"material":2231,"size":1447,"collection":86,"collections":2232,"showCount":2233,"zanCount":11,"manualWeight":11,"mainColor":71},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,1442,28,36,29,174,383,2229,961,7,35,273,31,804],"牧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg","纸本 设色",[],84,{"id":2235,"slug":2236,"title":2237,"dynasty":18,"author":2238,"museum":138,"description":2239,"tags":2240,"thumbUrl":2242,"material":100,"size":2243,"collection":42,"collections":2244,"showCount":2233,"zanCount":450,"manualWeight":11,"mainColor":71},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","朱端","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,24,27,28,215,29,36,7,33,158,273,771,60,2241,58],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[42],{"id":2246,"slug":2247,"title":2248,"dynasty":18,"author":2249,"museum":78,"description":2250,"tags":2251,"thumbUrl":2252,"material":86,"size":86,"collection":131,"collections":2253,"showCount":2254,"zanCount":592,"manualWeight":11,"mainColor":46},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,55,24,25,26,27,36,81,29,174,30,31,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[131],83,{"id":2256,"slug":2257,"title":2258,"dynasty":18,"author":2259,"museum":188,"description":2260,"tags":2261,"thumbUrl":2262,"material":249,"size":2263,"collection":42,"collections":2264,"showCount":2254,"zanCount":592,"manualWeight":11,"mainColor":71},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[24,25,27,29,36,143,61,32,7,35,33,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[42],{"id":2266,"slug":2267,"title":2268,"dynasty":94,"author":813,"museum":96,"description":2269,"tags":2270,"thumbUrl":2272,"material":128,"size":2273,"collection":42,"collections":2274,"showCount":2275,"zanCount":11,"manualWeight":11,"mainColor":71},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[23,24,25,215,28,29,357,7,60,34,33,2271,868,36],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[42,68],82,{"id":2277,"slug":2278,"title":2279,"dynasty":94,"author":813,"museum":20,"description":2280,"tags":2281,"thumbUrl":2283,"material":128,"size":2284,"collection":42,"collections":2285,"showCount":2275,"zanCount":592,"manualWeight":11,"mainColor":46},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,24,25,26,27,38,37,29,36,2241,2282,972,31,1061,33,7,63,246,771],"叠嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[42,131],{"id":2287,"slug":2288,"title":2289,"dynasty":94,"author":242,"museum":188,"description":2290,"tags":2291,"thumbUrl":2292,"material":249,"size":2293,"collection":42,"collections":2294,"showCount":2275,"zanCount":450,"manualWeight":11,"mainColor":46},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[23,24,25,26,27,29,36,37,38,58,306,516,422,30,7,550,996,273,143,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[42],{"id":2296,"slug":2297,"title":2298,"dynasty":94,"author":242,"museum":96,"description":2299,"tags":2300,"thumbUrl":2301,"material":748,"size":2302,"collection":86,"collections":2303,"showCount":2304,"zanCount":11,"manualWeight":11,"mainColor":71},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[55,24,27,29,215,7,175,31,141,357,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":2306,"slug":2307,"title":2308,"dynasty":109,"author":1350,"museum":78,"description":2309,"tags":2310,"thumbUrl":2311,"material":86,"size":86,"collection":42,"collections":2312,"showCount":2304,"zanCount":11,"manualWeight":11,"mainColor":46},238076,"fang-tang-yin-chi-bi-zhou-wang-hui-238076","仿唐寅赤璧轴","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》。",[24,457,215,36,81,29,303,7,63,158,33,246,60,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[42],{"id":2314,"slug":2315,"title":2316,"dynasty":18,"author":2317,"museum":138,"description":2318,"tags":2319,"thumbUrl":2320,"material":86,"size":86,"collection":86,"collections":2321,"showCount":2322,"zanCount":11,"manualWeight":11,"mainColor":46},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文徴明","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,55,24,25,26,38,27,28,36,29,7,60,34,33,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],80,{"id":2324,"slug":2325,"title":2326,"dynasty":109,"author":200,"museum":78,"description":2327,"tags":2328,"thumbUrl":2330,"material":86,"size":86,"collection":86,"collections":2331,"showCount":2322,"zanCount":11,"manualWeight":11,"mainColor":46},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[23,24,25,27,28,36,230,29,141,7,505,2329,58],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":2333,"slug":2334,"title":2335,"dynasty":18,"author":51,"museum":20,"description":2336,"tags":2337,"thumbUrl":2339,"material":233,"size":2340,"collection":42,"collections":2341,"showCount":2322,"zanCount":592,"manualWeight":11,"mainColor":46},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,55,24,25,215,28,57,2338,550,32,60,29,31,34,33,63,7],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[42,68],{"id":2343,"slug":2344,"title":2345,"dynasty":18,"author":2198,"museum":20,"description":2346,"tags":2347,"thumbUrl":2349,"material":100,"size":2350,"collection":262,"collections":2351,"showCount":2322,"zanCount":11,"manualWeight":11,"mainColor":71},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,55,25,215,27,114,28,29,60,7,63,31,661,84,1506,216,141,996,1921,158,2348],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[262],{"id":2353,"slug":2354,"title":2355,"dynasty":153,"author":2356,"museum":20,"description":2357,"tags":2358,"thumbUrl":2360,"material":100,"size":2361,"collection":262,"collections":2362,"showCount":2322,"zanCount":592,"manualWeight":11,"mainColor":71},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","梁楷","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[23,82,28,57,60,29,357,2359,7,37,58],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 26.6 厘米 横64.1 66.4 64.7 厘米",[262],{"id":2364,"slug":2365,"title":2366,"dynasty":153,"author":200,"museum":96,"description":2367,"tags":2368,"thumbUrl":2370,"material":100,"size":2371,"collection":42,"collections":2372,"showCount":2322,"zanCount":450,"manualWeight":11,"mainColor":71},215137,"yuan-shui-yang-fan-tu-yi-ming-215137","远水扬帆图","这幅画描绘了远处漂浮的几座青山。烟雾弥漫的河面上一阵强风将河边岩石上枝繁叶茂的树木吹弯，并将三艘客船直推到河中央。河岸上一位白袍隐士，带着他的钢琴手，正准备漫步到岩石阴凉处的茅草亭。明亮的风景透露出几分悠然自得的动感。",[23,24,25,28,29,36,33,158,60,7,503,2369,32],"远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ba8f66e5fe5ffdbb57aa8db2c36a45.jpg","21.6x52.4cm",[42],{"id":2374,"slug":2375,"title":2376,"dynasty":94,"author":200,"museum":188,"description":2377,"tags":2378,"thumbUrl":2379,"material":100,"size":2380,"collection":42,"collections":2381,"showCount":2322,"zanCount":592,"manualWeight":11,"mainColor":71},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[24,27,28,29,31,7,216,84,141,175,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[42],{"id":2383,"slug":2384,"title":2385,"dynasty":153,"author":315,"museum":733,"description":2386,"tags":2387,"thumbUrl":2389,"material":100,"size":86,"collection":42,"collections":2390,"showCount":2391,"zanCount":592,"manualWeight":11,"mainColor":71},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","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”。",[23,24,25,26,27,28,36,29,306,516,33,61,32,7,63,273,2388,158],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[42],79,{"id":2393,"slug":2394,"title":1939,"dynasty":153,"author":200,"museum":2395,"description":2396,"tags":2397,"thumbUrl":2398,"material":100,"size":2399,"collection":42,"collections":2400,"showCount":2391,"zanCount":592,"manualWeight":11,"mainColor":840},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","日本大阪市立美术馆","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[23,24,245,215,27,36,29,7,30,31,175,33,34,246,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[42],{"id":2402,"slug":2403,"title":2404,"dynasty":153,"author":744,"museum":96,"description":2405,"tags":2406,"thumbUrl":2409,"material":100,"size":2410,"collection":42,"collections":2411,"showCount":2391,"zanCount":11,"manualWeight":11,"mainColor":71},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[23,24,25,27,36,28,29,174,2407,329,7,804,997,2408,34,505],"积雪","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[42],{"id":2413,"slug":2414,"title":2415,"dynasty":109,"author":1103,"museum":733,"description":2416,"tags":2417,"thumbUrl":2418,"material":233,"size":2419,"collection":86,"collections":2420,"showCount":2391,"zanCount":11,"manualWeight":11,"mainColor":71},214345,"san-jue-shan-shui-ce-16-hua-yan-214345","三绝山水册-16","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,230,27,28,29,7,141,422,2036,36,2359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5412a5acb56562b5d7a9ca0fbda12789.jpg","23.4x15.8",[],{"id":2422,"slug":2423,"title":419,"dynasty":153,"author":744,"museum":78,"description":2424,"tags":2425,"thumbUrl":2426,"material":359,"size":360,"collection":86,"collections":2427,"showCount":2428,"zanCount":11,"manualWeight":11,"mainColor":71},290086,"yu-fu-tu-li-tang-290086","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。",[23,55,24,27,29,215,36,7,216,31,84,141,175,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":2430,"slug":2431,"title":2432,"dynasty":18,"author":326,"museum":467,"description":2433,"tags":2434,"thumbUrl":2435,"material":100,"size":86,"collection":42,"collections":2436,"showCount":2428,"zanCount":280,"manualWeight":11,"mainColor":71},219717,"you-diao-tu-tang-yin-219717","游钓图","烟岚轻笼远峰，墨色晕开江天暮色，空濛间漾着清寂悠然。中流扁舟一叶，渔者卧于舟头，随波浮沉，将江海寄怀揉入闲淡烟波。近岸危崖之上，虬松盘曲斜伸，丹枫点染出秋意暖色，幽轩依崖而筑，侍童静立阶侧，似在等候凭栏观江的主人。\n\n画作以斧劈皴勾勒山石棱角，刚劲中晕以淡墨烟霭，刚柔相济。题诗与画面相映，将仕路失意后的林泉之乐铺陈开来，把文人放旷自适的隐逸之思藏在笔底烟霞，萧散简远，尽显诗意与画意交融的吴门雅韵。",[24,215,28,36,29,7,33,158,60,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[42],{"id":2438,"slug":2439,"title":2440,"dynasty":109,"author":1350,"museum":78,"description":2309,"tags":2441,"thumbUrl":2442,"material":86,"size":86,"collection":86,"collections":2443,"showCount":2444,"zanCount":11,"manualWeight":11,"mainColor":46},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591","王翚仿古山水册",[55,24,25,230,27,36,29,61,30,31,7,32,33,272,34,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],77,{"id":2446,"slug":2447,"title":2448,"dynasty":18,"author":19,"museum":138,"description":2449,"tags":2450,"thumbUrl":2451,"material":233,"size":2452,"collection":86,"collections":2453,"showCount":2454,"zanCount":11,"manualWeight":11,"mainColor":46},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,230,27,36,38,58,29,61,30,31,7,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg","28.5*25.5cm",[],76,{"id":2456,"slug":2457,"title":2458,"dynasty":18,"author":19,"museum":78,"description":2459,"tags":2460,"thumbUrl":2461,"material":86,"size":86,"collection":86,"collections":2462,"showCount":2454,"zanCount":11,"manualWeight":11,"mainColor":46},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[23,24,25,26,28,36,29,33,7,60,329,31,34,175,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":2464,"slug":2465,"title":2466,"dynasty":153,"author":200,"museum":78,"description":2467,"tags":2468,"thumbUrl":2469,"material":86,"size":86,"collection":86,"collections":2470,"showCount":2454,"zanCount":592,"manualWeight":11,"mainColor":71},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[23,24,55,25,230,28,57,36,29,60,7,792,34,1144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],{"id":2472,"slug":2473,"title":2474,"dynasty":285,"author":286,"museum":78,"description":2475,"tags":2476,"thumbUrl":2477,"material":359,"size":360,"collection":86,"collections":2478,"showCount":2479,"zanCount":11,"manualWeight":11,"mainColor":71},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[23,55,24,25,26,27,29,31,7,175,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],75,{"id":2481,"slug":2482,"title":2483,"dynasty":153,"author":2484,"museum":78,"description":2485,"tags":2486,"thumbUrl":2487,"material":86,"size":86,"collection":86,"collections":2488,"showCount":2479,"zanCount":592,"manualWeight":11,"mainColor":71},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,55,24,25,26,56,28,57,29,306,516,33,61,32,30,7,1420,771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":2490,"slug":2491,"title":108,"dynasty":18,"author":2492,"museum":78,"description":2493,"tags":2494,"thumbUrl":2496,"material":86,"size":86,"collection":86,"collections":2497,"showCount":2479,"zanCount":280,"manualWeight":11,"mainColor":46},228912,"tao-hua-yuan-tu-qian-gu-228912","钱毂","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,25,26,27,28,36,57,29,60,59,31,7,175,63,30,32,2495],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":2499,"slug":2500,"title":2501,"dynasty":109,"author":1302,"museum":490,"description":1454,"tags":2502,"thumbUrl":2503,"material":40,"size":1457,"collection":42,"collections":2504,"showCount":2479,"zanCount":11,"manualWeight":11,"mainColor":46},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬",[23,24,25,27,29,661,84,7,31,34,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg",[42],{"id":2506,"slug":2507,"title":1741,"dynasty":2508,"author":2509,"museum":720,"description":2510,"tags":2511,"thumbUrl":2512,"material":100,"size":2513,"collection":42,"collections":2514,"showCount":2479,"zanCount":11,"manualWeight":11,"mainColor":71},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","不详","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,24,215,27,36,29,370,306,516,33,35,7,1107,157,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[42],{"id":2516,"slug":2517,"title":2518,"dynasty":153,"author":443,"museum":96,"description":2519,"tags":2520,"thumbUrl":2523,"material":359,"size":360,"collection":86,"collections":2524,"showCount":2525,"zanCount":11,"manualWeight":11,"mainColor":71},288287,"xue-ji-jiang-xing-tu-guo-zhong-shu-288287","雪霁江行图","本图描绘雪霁以后两艘巨型楼船在江边行进，船的结构与船上的物件描写详尽而严谨，还穿插水手及一些人物的活动，情节生动。无数印，上方有宋徽宗赵佶题“雪霁江行图，郭忠恕真迹”10字。据考证，该图原为长卷，后被割裂，本图为原长卷中之一段。",[229,24,55,82,27,1702,7,2521,2522,58],"雪霁","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa564b7f5e15418354a7fa5524a71c9fd.jpg",[],74,{"id":2527,"slug":2528,"title":2529,"dynasty":153,"author":2530,"museum":78,"description":2531,"tags":2532,"thumbUrl":2533,"material":359,"size":360,"collection":86,"collections":2534,"showCount":2525,"zanCount":450,"manualWeight":11,"mainColor":46},285064,"xi-hu-tu-juan-li-song-285064","西湖图卷","李嵩","以纸本水墨图绘西湖全景，画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,55,24,25,26,27,29,61,7,31,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],{"id":2536,"slug":2537,"title":2538,"dynasty":153,"author":2484,"museum":78,"description":2539,"tags":2540,"thumbUrl":2541,"material":86,"size":86,"collection":86,"collections":2542,"showCount":2525,"zanCount":592,"manualWeight":11,"mainColor":71},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,55,24,26,56,28,57,36,29,61,30,31,7,33,60,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":2544,"slug":2545,"title":2546,"dynasty":94,"author":432,"museum":138,"description":2547,"tags":2548,"thumbUrl":2549,"material":233,"size":2550,"collection":42,"collections":2551,"showCount":2525,"zanCount":11,"manualWeight":11,"mainColor":46},220823,"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[24,27,28,36,29,84,60,7,63,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[42,131],{"id":2553,"slug":2554,"title":2555,"dynasty":109,"author":2556,"museum":138,"description":2557,"tags":2558,"thumbUrl":2560,"material":177,"size":2561,"collection":319,"collections":2562,"showCount":2563,"zanCount":592,"manualWeight":11,"mainColor":46},233442,"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","罗聘","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,27,28,230,60,29,7,31,84,2559,1526,36],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[319,42,68],73,{"id":2565,"slug":2566,"title":2567,"dynasty":153,"author":154,"museum":78,"description":2568,"tags":2569,"thumbUrl":2570,"material":86,"size":86,"collection":86,"collections":2571,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":71},227765,"mu-se-yu-cun-tu-ye-xia-gui-227765","暮色渔村图页","宋代绘画是中国绘画艺术发展的高峰。南宋退至杭州以后，宗室子弟也随之退至杭州，宗室子弟多具艺术兴趣、禀赋、修养。南宋虽偏安江南，但在绘画上却依然取得了瞩目的成就。宫廷绘画仍是当时绘画发展的主流，江南的自然和人文环境，使南宋绘画别具自己的特色。山水画从北宋全景式的大山大水及松石，变成了用笔简括、章法谨严、高度剪裁的边角特写。人物画着重挖掘人物的精神状貌及动人的情节，注重塑造性格鲜明的艺术形象。花鸟画努力进行形象提炼，有着高度的写实能力。而千姿百态的西湖画更显示了南宋画的特色。此时的文人士夫画在主观的表达和笔墨效果的探索上亦有较大的贡献。夏圭、马远、李唐和刘鹤年并称南宋四大画家。这里介绍四大画家之一夏圭绘画赏析，他的主要作品有《溪山清远图》《临流赋琴图》《雪堂客话图》《烟岫林居图》《西湖柳艇图》《洞庭秋月图》《梧竹溪堂图》《山水十二景图》《雪溪放牧图页》《风雨行舟图》《山腰楼观图页》《泽畔疾风图》《钱塘秋潮图》《松溪泛月图》《寒林对雪图》《山市晴岚图》《松崖客话图》《遥岑烟霭图》《灞桥风雪图》《观瀑图》《坐看云起图》《长江万里图》《捕鱼图团扇》等。",[24,27,36,230,29,63,7,84,481,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fd431501dd6f7cc9573e2445db7b27.jpg",[],{"id":2573,"slug":2574,"title":2575,"dynasty":153,"author":200,"museum":138,"description":2576,"tags":2577,"thumbUrl":2578,"material":2579,"size":2580,"collection":162,"collections":2581,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":71},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,55,24,25,26,28,29,33,30,31,7,35,36,57,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","絹本設色","纵24.5厘米，横185.5厘米",[162,42,131],{"id":2583,"slug":2584,"title":2585,"dynasty":18,"author":2249,"museum":138,"description":2586,"tags":2587,"thumbUrl":2589,"material":177,"size":2590,"collection":42,"collections":2591,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":46},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,26,28,36,29,30,31,32,33,329,7,60,2588,34,1445],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[42,68],{"id":2593,"slug":2594,"title":1291,"dynasty":18,"author":2595,"museum":78,"description":2596,"tags":2597,"thumbUrl":2598,"material":177,"size":2599,"collection":42,"collections":2600,"showCount":2563,"zanCount":280,"manualWeight":11,"mainColor":46},222050,"xue-jing-tu-zhang-peng-222050","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[23,24,27,36,29,215,371,34,174,7,216,61,600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[42,131],{"id":2602,"slug":2603,"title":339,"dynasty":153,"author":154,"museum":96,"description":2604,"tags":2605,"thumbUrl":2606,"material":28,"size":2607,"collection":42,"collections":2608,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":71},221226,"shan-shui-tu-xia-gui-221226","夏圭 (公元12世纪末-13世纪初) 亦称夏珪,字禹玉,钱塘(今浙江杭州)人,生卒不详,宁宗赵扩 (1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[23,55,24,25,29,27,36,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[42,131],{"id":2610,"slug":2611,"title":2612,"dynasty":18,"author":2082,"museum":188,"description":2613,"tags":2614,"thumbUrl":2615,"material":100,"size":2616,"collection":42,"collections":2617,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":71},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[24,27,36,215,29,997,562,34,272,60,574,7,33,191,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[42],{"id":2619,"slug":2620,"title":2621,"dynasty":153,"author":315,"museum":78,"description":2622,"tags":2623,"thumbUrl":2624,"material":359,"size":360,"collection":86,"collections":2625,"showCount":2626,"zanCount":11,"manualWeight":11,"mainColor":71},289358,"xue-jing-tu-han-xi-mei-xiang-ma-yuan-289358","雪景图（寒溪梅香）","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。",[55,24,27,29,371,32,7,174,34,31,36,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd288b946405b599d6d3edc3dfbf95485.jpg",[],72,{"id":2628,"slug":2629,"title":2630,"dynasty":153,"author":154,"museum":96,"description":2631,"tags":2632,"thumbUrl":2633,"material":128,"size":2634,"collection":86,"collections":2635,"showCount":2626,"zanCount":11,"manualWeight":11,"mainColor":71},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,25,26,27,36,29,61,33,7,31,34,32,63,1241,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":2637,"slug":2638,"title":2639,"dynasty":109,"author":110,"museum":111,"description":112,"tags":2640,"thumbUrl":2641,"material":116,"size":117,"collection":42,"collections":2642,"showCount":2626,"zanCount":450,"manualWeight":11,"mainColor":71},222672,"tao-hua-yuan-tu-juan-huang-shen-222672","桃花源图卷",[23,24,26,28,36,59,61,31,7,60,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af1485e8add576fe39965e2d112d3a5.jpg",[42,68],{"id":2644,"slug":2645,"title":2646,"dynasty":153,"author":2647,"museum":78,"description":2648,"tags":2649,"thumbUrl":2651,"material":471,"size":2652,"collection":162,"collections":2653,"showCount":2626,"zanCount":11,"manualWeight":11,"mainColor":71},221224,"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[23,55,24,25,230,27,36,29,33,1942,273,2650,7],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","纵24.9厘米、横26.3厘米",[162,42,131],{"id":2655,"slug":2656,"title":2657,"dynasty":153,"author":315,"museum":96,"description":2658,"tags":2659,"thumbUrl":2660,"material":100,"size":2661,"collection":86,"collections":2662,"showCount":2626,"zanCount":11,"manualWeight":11,"mainColor":46},218570,"hua-niao-shan-shui-xiao-pin-ce-gu-ting-sui-bo-ma-yuan-218570","花鸟山水小品册-孤艇随波","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,24,25,230,27,28,29,7,31,216,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bca127934b361f3a0e08bbf5466c40.jpg","33*19",[],{"id":2664,"slug":2665,"title":1939,"dynasty":153,"author":2666,"museum":78,"description":2667,"tags":2668,"thumbUrl":2670,"material":359,"size":360,"collection":86,"collections":2671,"showCount":2672,"zanCount":592,"manualWeight":11,"mainColor":71},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","许道宁","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,55,24,26,27,245,36,29,1129,7,174,2669,562,1082],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],71,{"id":2674,"slug":2675,"title":2676,"dynasty":109,"author":648,"museum":78,"description":2677,"tags":2678,"thumbUrl":2681,"material":86,"size":86,"collection":86,"collections":2682,"showCount":2672,"zanCount":11,"manualWeight":11,"mainColor":46},233908,"hua-hui-shan-shui-ce-yun-shou-ping-233908","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,230,25,27,29,1526,2679,30,1220,7,58,37,36,2680],"民居","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdc695aa86b4de6eec57f11a4c771330.jpg",[],{"id":2684,"slug":2685,"title":2686,"dynasty":153,"author":315,"museum":78,"description":2687,"tags":2688,"thumbUrl":2689,"material":86,"size":86,"collection":86,"collections":2690,"showCount":2672,"zanCount":11,"manualWeight":11,"mainColor":182},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[23,24,55,25,230,27,36,28,29,7,84,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":2692,"slug":2693,"title":2694,"dynasty":109,"author":2695,"museum":467,"description":2696,"tags":2697,"thumbUrl":2698,"material":40,"size":2699,"collection":86,"collections":2700,"showCount":2672,"zanCount":592,"manualWeight":11,"mainColor":46},216250,"jing-fu-si-qi-dong-jing-tu-8-qian-wei-cheng-216250","景敷四气冬景图-8","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n蜡以黏英珊结子，有花有实冒冬荣。惟应罗汉松高见，不屑别传三友名。钤印：静中观造化",[24,27,28,36,29,7,84,141,31,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93f1bcbd0305cbd9f3595cfd4faef6d.jpg","21.9 × 30.2cm",[],{"id":2702,"slug":2703,"title":2704,"dynasty":109,"author":1103,"museum":733,"description":2416,"tags":2705,"thumbUrl":2706,"material":233,"size":2419,"collection":86,"collections":2707,"showCount":2672,"zanCount":11,"manualWeight":11,"mainColor":71},214344,"san-jue-shan-shui-ce-15-hua-yan-214344","三绝山水册-15",[23,24,230,27,29,7,141,84,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4491a88ae5e5ead8b4380ed9f6110b95.jpg",[],{"id":2709,"slug":2710,"title":2711,"dynasty":18,"author":326,"museum":78,"description":2712,"tags":2713,"thumbUrl":2714,"material":359,"size":360,"collection":86,"collections":2715,"showCount":2716,"zanCount":450,"manualWeight":11,"mainColor":71},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)","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”。",[23,55,24,25,26,28,36,29,7,61,34,33,31,724,32,38,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],70,{"id":2718,"slug":2719,"title":2720,"dynasty":352,"author":353,"museum":96,"description":355,"tags":2721,"thumbUrl":2722,"material":2723,"size":2724,"collection":262,"collections":2725,"showCount":2716,"zanCount":11,"manualWeight":11,"mainColor":71},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴",[24,55,25,215,56,28,57,29,61,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[262,68],{"id":2727,"slug":2728,"title":2729,"dynasty":18,"author":2730,"museum":1048,"description":2731,"tags":2732,"thumbUrl":2744,"material":100,"size":2745,"collection":42,"collections":2746,"showCount":2716,"zanCount":450,"manualWeight":11,"mainColor":46},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,25,26,28,29,36,37,38,7,31,32,63,481,303,175,30,2733,2734,2735,2736,2737,2738,2739,2740,2741,2742,1272,2743],"远浦","归帆","山市","晴岚","江天","暮雪","洞庭","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[42],{"id":2748,"slug":2749,"title":2750,"dynasty":153,"author":691,"museum":78,"description":2751,"tags":2752,"thumbUrl":2753,"material":86,"size":86,"collection":86,"collections":2754,"showCount":2755,"zanCount":11,"manualWeight":11,"mainColor":71},227494,"shan-shui-tu-zhou-fan-kuan-227494","山水图轴","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,55,24,25,215,27,28,36,29,7,34,33,504,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],69,{"id":2757,"slug":2758,"title":2759,"dynasty":153,"author":969,"museum":78,"description":2760,"tags":2761,"thumbUrl":2763,"material":359,"size":360,"collection":86,"collections":2764,"showCount":2765,"zanCount":11,"manualWeight":11,"mainColor":71},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,55,24,26,245,371,142,246,7,174,61,63,27,28,37,58,2762],"清寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],68,{"id":2767,"slug":2768,"title":2769,"dynasty":109,"author":500,"museum":78,"description":2770,"tags":2771,"thumbUrl":2772,"material":86,"size":86,"collection":86,"collections":2773,"showCount":2765,"zanCount":11,"manualWeight":11,"mainColor":46},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[55,24,25,27,28,29,36,38,58,84,661,32,30,31,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":2775,"slug":2776,"title":2777,"dynasty":153,"author":2778,"museum":138,"description":2779,"tags":2780,"thumbUrl":2782,"material":100,"size":2783,"collection":849,"collections":2784,"showCount":2765,"zanCount":11,"manualWeight":11,"mainColor":46},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,55,24,25,26,38,37,27,29,7,371,305,868,2781],"天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[849],{"id":2786,"slug":2787,"title":2788,"dynasty":153,"author":969,"museum":96,"description":2789,"tags":2790,"thumbUrl":2791,"material":128,"size":86,"collection":162,"collections":2792,"showCount":2765,"zanCount":11,"manualWeight":11,"mainColor":46},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[23,55,24,25,230,28,36,29,7,216,174,34,31,481,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[162],{"id":2794,"slug":2795,"title":2796,"dynasty":153,"author":200,"museum":96,"description":2797,"tags":2798,"thumbUrl":2799,"material":249,"size":2800,"collection":42,"collections":2801,"showCount":2765,"zanCount":592,"manualWeight":11,"mainColor":46},218802,"xi-shan-xian-guan-tu-yi-ming-218802","溪山仙馆图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[23,24,55,27,36,29,61,31,7,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[42],{"id":2803,"slug":2804,"title":2805,"dynasty":18,"author":1787,"museum":188,"description":2806,"tags":2807,"thumbUrl":2808,"material":100,"size":2809,"collection":42,"collections":2810,"showCount":2765,"zanCount":11,"manualWeight":11,"mainColor":71},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[24,25,215,28,29,357,7,216,34,31,504,175,36,57,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[42],{"id":2812,"slug":2813,"title":1237,"dynasty":94,"author":200,"museum":96,"description":2814,"tags":2815,"thumbUrl":2816,"material":249,"size":2817,"collection":42,"collections":2818,"showCount":2765,"zanCount":11,"manualWeight":11,"mainColor":46},218283,"jiang-tian-lou-ge-tu-yi-ming-218283","层楼倚崖耸峙，飞檐翘角若振翅欲飞，木构窗棂皆细致勾勒，尽显楼阁之巍峨精巧。江面浩渺无垠，数叶轻舟泛于云水之间，似有渔歌隐约。远山如黛，在云雾氤氲中层层晕染，渐次隐入天际，天地间尽是清旷之气。笔墨简淡却意韵悠长，将建筑的工致与江天的空阔相融，清风仿佛穿堂而过，涛声似在耳畔轻吟。画面静谧空灵，尽显元人山水之悠远意境，观之令人心随舟行，神驰于江天之间，顿生旷达之感。",[24,229,82,29,61,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b9cd06ac1c83e4a168b35b2a899c84.jpg","83.7x40cm",[42],{"id":2820,"slug":2821,"title":2822,"dynasty":109,"author":1103,"museum":733,"description":2416,"tags":2823,"thumbUrl":2824,"material":233,"size":2419,"collection":86,"collections":2825,"showCount":2765,"zanCount":11,"manualWeight":11,"mainColor":71},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10",[23,24,25,230,27,28,29,174,34,60,216,273,1051,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg",[],{"id":2827,"slug":2828,"title":2829,"dynasty":285,"author":2830,"museum":78,"description":2831,"tags":2832,"thumbUrl":2833,"material":359,"size":360,"collection":86,"collections":2834,"showCount":2835,"zanCount":11,"manualWeight":11,"mainColor":71},290415,"wu-dai-liang-yu-le-tu-zhou-jing-hao-290415","五代梁渔乐图轴","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[55,24,215,29,27,36,34,174,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c6cdb23ba7361b98c8e5b41081a410.jpg",[],67,{"id":2837,"slug":2838,"title":1881,"dynasty":153,"author":154,"museum":78,"description":1333,"tags":2839,"thumbUrl":2841,"material":359,"size":360,"collection":86,"collections":2842,"showCount":2835,"zanCount":11,"manualWeight":11,"mainColor":71},289973,"xi-kou-chui-diao-tu-xia-gui-289973",[23,55,24,245,27,36,84,273,7,31,673,175,2840],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12db7647f64f711e5579f8564b24a7.jpg",[],{"id":2844,"slug":2845,"title":2846,"dynasty":153,"author":154,"museum":78,"description":2847,"tags":2848,"thumbUrl":2849,"material":359,"size":360,"collection":86,"collections":2850,"showCount":2835,"zanCount":592,"manualWeight":11,"mainColor":46},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[23,55,24,26,25,27,29,7,31,142,1220,538,1702,37,38,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],{"id":2852,"slug":2853,"title":339,"dynasty":18,"author":558,"museum":96,"description":2854,"tags":2855,"t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184.5x109.4公分",[42],{"id":2860,"slug":2861,"title":2862,"dynasty":109,"author":2863,"museum":78,"description":2864,"tags":2865,"thumbUrl":2869,"material":86,"size":86,"collection":42,"collections":2870,"showCount":2871,"zanCount":11,"manualWeight":11,"mainColor":71},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","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。\n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。”",[23,24,26,28,29,36,63,30,31,7,32,34,272,33,2866,2867,2868],"鹤","鹿","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[42,68],66,{"id":2873,"slug":2874,"title":2875,"dynasty":94,"author":607,"museum":467,"description":2876,"tags":2877,"thumbUrl":2878,"material":1885,"size":2879,"collection":42,"collections":2880,"showCount":2871,"zanCount":11,"manualWeight":11,"mainColor":71},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,55,26,27,36,29,30,31,7,33,2868,175,63,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[42,131],{"id":2882,"slug":2883,"title":1026,"dynasty":153,"author":315,"museum":1027,"description":2884,"tags":2885,"thumbUrl":1031,"material":100,"size":86,"collection":262,"collections":2886,"showCount":2871,"zanCount":592,"manualWeight":11,"mainColor":71},219863,"yu-le-tu-ma-yuan-219863","画面截取边角山水景致，峭壁斜出，虬松探枝舒展，笔墨刚劲爽利，斧劈皴利落勾勒山石棱角，尽显苍劲雄浑。\n\n水岸平滩处，二渔人相对促膝，姿态松弛随意，似正畅谈渔间趣事，简笔淡墨便将隐逸闲适的情态尽数铺陈。远景山峦含混于烟霭间，水色空蒙辽远，留白虚实相生，将江天寥廓的空寂意境晕染开来，把江湖渔隐的悠然意趣藏于尺幅之间，观之令人忘却尘嚣。",[24,55,25,29,60,7,84,34,505,36,27,28,175],[262],{"id":2888,"slug":2889,"title":2890,"dynasty":109,"author":110,"museum":490,"description":2891,"tags":2892,"thumbUrl":2893,"material":249,"size":2894,"collection":42,"collections":2895,"showCount":2871,"zanCount":592,"manualWeight":11,"mainColor":71},219762,"jiu-long-tan-jia-chao-tu-huang-shen-219762","九龙滩驾潮图","一位纤夫露出正脸，虽然他的眉眼五官刻画十分简单，却依然可以感受到他使出浑身力气，坚定不移的神情和姿态，似乎在这险滩之上，能清楚听到他一边喊着船工号子，一边吆喝着同行的伙计，凭借多年经验征服这险境，自信满满。\n都说眼睛是心灵的窗口，古人写意传神，正是这眼眸眉目最为关键画龙点睛的道理妇孺皆知，古画中每个人物的一个眼神，一颦一笑，都饱含着他们最为真实的情愫",[23,24,27,36,29,7,31,33,158,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad659f0445c5015ff40352ba6ebce03a.jpg","纵90横119.8",[42],{"id":2897,"slug":2898,"title":2899,"dynasty":18,"author":19,"museum":78,"description":2900,"tags":2901,"thumbUrl":2903,"material":359,"size":360,"collection":86,"collections":2904,"showCount":2905,"zanCount":11,"manualWeight":11,"mainColor":46},289752,"jing-kou-song-bie-tu-juan-shen-zhou-289752","京口送别图卷","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。",[55,24,26,245,27,36,31,7,61,33,34,2902,58],"送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea161e0d4c00caea203450d2b1512ba6.jpg",[],65,{"id":2907,"slug":2908,"title":2440,"dynasty":109,"author":1350,"museum":78,"description":2309,"tags":2909,"thumbUrl":2910,"material":86,"size":86,"collection":42,"collections":2911,"showCount":2905,"zanCount":11,"manualWeight":11,"mainColor":46},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581",[24,25,55,27,1442,36,29,142,157,7,33,30,1506,158,143,1690,1052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[42,131],{"id":2913,"slug":2914,"title":2915,"dynasty":109,"author":1302,"museum":138,"description":2916,"tags":2917,"thumbUrl":2918,"material":1284,"size":2919,"collection":42,"collections":2920,"showCount":2905,"zanCount":592,"manualWeight":11,"mainColor":46},222666,"yu-xi-shan-gen-tu-zhou-kun-can-222666","雨洗山根图轴","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[23,24,25,215,27,36,29,33,35,7,31,34,804,84,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03932682651547307896f5d9c08b293b.jpg","纵103厘米，横59.9厘米",[42,131],{"id":2922,"slug":2923,"title":2924,"dynasty":153,"author":2925,"museum":138,"description":2926,"tags":2927,"thumbUrl":2928,"material":2929,"size":2930,"collection":162,"collections":2931,"showCount":2905,"zanCount":450,"manualWeight":11,"mainColor":71},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,55,24,25,26,82,27,28,29,60,7,84,303,31,63,141,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","绢本，淡设色","25.9*143cm",[162,42,68],{"id":2933,"slug":2934,"title":2935,"dynasty":153,"author":2936,"museum":2937,"description":2938,"tags":2939,"thumbUrl":2941,"material":233,"size":86,"collection":162,"collections":2942,"showCount":2905,"zanCount":11,"manualWeight":11,"mainColor":46},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","玉涧","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,55,24,25,27,36,29,7,37,142,1942,2940,2329],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[162],{"id":2944,"slug":2945,"title":2946,"dynasty":153,"author":154,"museum":96,"description":2947,"tags":2948,"thumbUrl":2949,"material":331,"size":2950,"collection":86,"collections":2951,"showCount":2952,"zanCount":11,"manualWeight":11,"mainColor":71},288371,"chang-jiang-wan-li-tu-hou-juan-xia-gui-288371","长江万里图后卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,24,26,27,245,36,142,1702,7,1052,357,143,1093,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17ed61dd6a5972ee7a6aea3bd1ee1f2.jpg","该幅26.8x1115.3公分；隔水一 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Museum of Art at Newfields","以高远危崖呼应平阔水汀，淡赭晕开朝暮霞光，江雾轻笼天地。枯笔勾出崖石筋骨，焦墨点簇顶间林木，苍劲里暗含秀雅疏朗。水色留白晕染浅青，浅滩枯木枝桠清瘦，间缀浅红秋意，冷寂中晕开暖意。\n\n扁舟横斜汀渚，舟上人影简淡，尽显江湖散人的从容闲逸。整幅画笔简意足，将江乡清灵旷远融于淡墨轻色之间，淡而弥永，尽显萧散简远的文人林下风流。",[23,24,28,36,215,29,7,33,34,246,143,35,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":3035,"slug":3036,"title":3037,"dynasty":18,"author":19,"museum":1008,"description":2966,"tags":3038,"thumbUrl":3039,"material":40,"size":2969,"collection":86,"collections":3040,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":46},220010,"dong-zhuang-tu-ce-zhi-nan-gang-shen-zhou-220010","东庄图册之南港",[23,24,27,230,29,36,33,31,7,1175,550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bc3277507cd2055dd3e64f96a29d1e.jpg",[],{"id":3042,"slug":3043,"title":3044,"dynasty":94,"author":3045,"museum":20,"description":3046,"tags":3047,"thumbUrl":3048,"material":748,"size":3049,"collection":42,"collections":3050,"showCount":2987,"zanCount":592,"manualWeight":11,"mainColor":71},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[24,27,29,36,37,58,84,661,7,31,141,273,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[42],{"id":3052,"slug":3053,"title":3054,"dynasty":285,"author":3055,"museum":78,"description":3056,"tags":3057,"thumbUrl":3059,"material":359,"size":360,"collection":86,"collections":3060,"showCount":3061,"zanCount":592,"manualWeight":11,"mainColor":71},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,55,24,26,28,245,397,7,216,174,996,371,175,60,3058],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],62,{"id":3063,"slug":3064,"title":3065,"dynasty":109,"author":1302,"museum":138,"description":1303,"tags":3066,"thumbUrl":3070,"material":2231,"size":86,"collection":42,"collections":3071,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":46},236272,"qiu-shan-you-jing-tu-zhou-kun-can-236272","秋山幽静图轴",[24,245,215,27,723,31,7,30,61,3067,272,3068,3069],"古树","幽境","苍莽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca894ea502bfc800f010545c07b430e.jpg",[42,131],{"id":3073,"slug":3074,"title":2448,"dynasty":18,"author":19,"museum":138,"description":2449,"tags":3075,"thumbUrl":3076,"material":233,"size":2452,"collection":86,"collections":3077,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":46},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[24,25,230,27,38,36,29,30,31,7,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":3079,"slug":3080,"title":3081,"dynasty":153,"author":154,"museum":78,"description":3082,"tags":3083,"thumbUrl":3084,"material":86,"size":86,"collection":86,"collections":3085,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":46},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[23,24,25,26,27,36,38,58,29,7,63,175,33,34,31,305,216,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":3087,"slug":3088,"title":3089,"dynasty":18,"author":170,"museum":3090,"description":3091,"tags":3092,"thumbUrl":3093,"material":3094,"size":3095,"collection":42,"collections":3096,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":71},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","旅顺博物馆","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水作品。",[23,24,26,27,36,29,723,446,33,31,7,63,34,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","纸本水墨","26.3x246.5",[42,131],{"id":3098,"slug":3099,"title":419,"dynasty":18,"author":200,"museum":490,"description":3100,"tags":3101,"thumbUrl":3102,"material":100,"size":3103,"collection":262,"collections":3104,"showCount":3061,"zanCount":11,"manualWeight":11,"mainColor":71},218360,"yu-fu-tu-yi-ming-218360","这幅画描绘了一条小船停泊在河岸边的一棵大柳树旁，船边有一个渔夫在睡觉，对面有一个小孩在盯着水面，船边挂着一个鱼哨，而画面中的水波似乎在摇晃着小船。",[23,24,27,82,60,7,31,63,84,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51b1c5078844ad604b93da19526e59.jpg","25x25",[262,68],{"id":3106,"slug":3107,"title":3108,"dynasty":94,"author":513,"museum":96,"description":3109,"tags":3110,"thumbUrl":3111,"material":1178,"size":3112,"collection":86,"collections":3113,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[55,24,25,26,28,56,57,29,58,37,38,203,306,516,7,33,273,1723,60,246,143,1083,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":3115,"slug":3116,"title":3117,"dynasty":153,"author":3118,"museum":78,"description":3119,"tags":3120,"thumbUrl":3121,"material":86,"size":86,"collection":86,"collections":3122,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":71},227704,"chun-jiang-hua-yue-ye-tu-ye-xiao-zhao-227704","春江花月夜图页","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,55,24,25,230,27,28,36,29,31,7,303,32,84,63,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b470b220a55c2881ae3b91662b49dd.jpg",[],{"id":3124,"slug":3125,"title":3126,"dynasty":109,"author":3127,"museum":20,"description":3128,"tags":3129,"thumbUrl":3130,"material":3131,"size":3132,"collection":42,"collections":3133,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,25,26,27,28,36,29,306,516,33,34,35,7,31,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","设色纸本","26×455",[42,131],{"id":3135,"slug":3136,"title":3137,"dynasty":18,"author":3138,"museum":96,"description":3139,"tags":3140,"thumbUrl":3146,"material":1885,"size":3147,"collection":42,"collections":3148,"showCount":5,"zanCount":592,"manualWeight":11,"mainColor":71},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,55,245,27,3141,3142,142,272,30,7,3143,3144,562,61,33,3145],"云头皴","蟹爪枝","客舍","村居","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[42,131],{"id":3150,"slug":3151,"title":2759,"dynasty":153,"author":200,"museum":20,"description":3152,"tags":3153,"thumbUrl":3154,"material":100,"size":3155,"collection":42,"collections":3156,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":71},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,24,25,27,29,7,142,33,35,371,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[42],{"id":3158,"slug":3159,"title":3160,"dynasty":94,"author":3161,"museum":78,"description":3162,"tags":3163,"thumbUrl":3164,"material":249,"size":86,"collection":262,"collections":3165,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},218244,"xue-ye-fang-dai-tu-zhang-wo-218244","雪夜访戴图","张渥","疏枝横斜，托出夜雪的清寒；孤棹轻漾，载得随性的旷达。画面中，枯树虬劲如铁，寒江空蒙似练，小舟泊于岸侧，篷窗半掩。舟中人物或凭舷凝思，或敛袖安坐，神态悠然自适。此作取王子猷雪夜访戴典故，不着一字写雪，却以萧索枯枝、静谧孤舟暗合冬夜清寂。笔墨简练传神，线条流畅婉转，皴染淡雅自然，将魏晋士人“乘兴而来，兴尽而返”的旷达心境，融入寒江孤棹的图景。观者仿佛能透过纸面，触摸那份不拘形迹的自在，感受超脱世俗的精神余韵，尽显古典文人画的意境之美。",[24,25,82,27,60,7,174,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52371083784394e711a04b815e88c70f.jpg",[262],{"id":3167,"slug":3168,"title":627,"dynasty":153,"author":200,"museum":78,"description":3169,"tags":3170,"thumbUrl":3171,"material":359,"size":360,"collection":86,"collections":3172,"showCount":3173,"zanCount":280,"manualWeight":11,"mainColor":71},288461,"xi-shan-wu-jin-tu-yi-ming-288461","此作用全景长卷铺展丘壑，群峰层峦拔地而起，或雄峙崔嵬，或玲珑峭拔，烟云在峰林之间舒卷弥漫，晕染出远近山岫的虚实层次。\n\n笔墨苍劲古拙，以浑厚皴法写出山石嶙峋肌理，林木错落点染，蓊郁苍茂。澄澈水面留白托景，行舟、山居隐现于林泉，将山野的雄浑大气与村居野趣相融，于咫尺长卷中铺陈出千里江山的无尽意趣，尽显林泉高致的山水雅韵，藏着天地悠悠的静穆生机。",[23,24,26,27,245,34,33,31,7,30,1052,143,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd2b09a208c3f6337ea5aa4bf8bcfd5.jpg",[],60,{"id":3175,"slug":3176,"title":3177,"dynasty":18,"author":766,"museum":78,"description":3178,"tags":3179,"thumbUrl":3181,"material":359,"size":360,"collection":86,"collections":3182,"showCount":3173,"zanCount":11,"manualWeight":11,"mainColor":46},237824,"fang-zhang-seng-yao-mei-gu-shan-shui-shan-zhang-hong-237824","仿张僧繇没骨山水扇","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,694,3180,28,81,29,7,33,329,273,246,1674,58],"没骨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3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　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[23,24,26,27,57,60,7,422,246,996,175,36,1241,3391],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[262],{"id":3396,"slug":3397,"title":3398,"dynasty":153,"author":744,"museum":78,"description":3399,"tags":3400,"thumbUrl":3401,"material":359,"size":360,"collection":86,"collections":3402,"showCount":3403,"zanCount":11,"manualWeight":11,"mainColor":71},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","江山小景图","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,55,24,25,26,27,28,36,29,7,32,1220,272,1129,158,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],55,{"id":3405,"slug":3406,"title":3407,"dynasty":153,"author":3408,"museum":138,"description":3409,"tags":3410,"thumbUrl":3412,"material":1178,"size":3413,"collection":162,"collections":3414,"showCount":3403,"zanCount":11,"manualWeight":11,"mainColor":71},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,25,26,57,28,996,370,7,63,3411,2737,29,58,38,37],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[162,42,131],{"id":3416,"slug":3417,"title":3418,"dynasty":18,"author":558,"museum":188,"description":3419,"tags":3420,"thumbUrl":3421,"material":249,"size":3422,"collection":42,"collections":3423,"showCount":3403,"zanCount":11,"manualWeight":11,"mainColor":182},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[23,24,27,215,36,29,7,216,60,357,2036,31,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[42],{"id":3425,"slug":3426,"title":3427,"dynasty":109,"author":2054,"museum":467,"description":3428,"tags":3429,"thumbUrl":3430,"material":249,"size":86,"collection":42,"collections":3431,"showCount":3403,"zanCount":11,"manualWeight":11,"mainColor":46},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[24,27,29,7,216,422,273,505,868,114,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[42],{"id":3433,"slug":3434,"title":1248,"dynasty":153,"author":779,"museum":96,"description":3435,"tags":3436,"thumbUrl":3437,"material":100,"size":3438,"collection":162,"collections":3439,"showCount":3403,"zanCount":592,"manualWeight":11,"mainColor":46},218933,"bu-yu-tu-li-cheng-218933","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[23,24,55,25,230,27,36,29,84,7,216,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[162],{"id":3441,"slug":3442,"title":701,"dynasty":18,"author":200,"museum":188,"description":3443,"tags":3444,"thumbUrl":3445,"material":100,"size":86,"collection":42,"collections":3446,"showCount":3403,"zanCount":11,"manualWeight":11,"mainColor":71},217977,"wang-chuan-tu-yi-ming-217977","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[23,55,24,26,245,229,28,142,31,61,33,60,7,2085,1378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[42],{"id":3448,"slug":3449,"title":3450,"dynasty":18,"author":326,"museum":78,"description":2712,"tags":3451,"thumbUrl":3452,"material":359,"size":360,"collection":86,"collections":3453,"showCount":3454,"zanCount":592,"manualWeight":11,"mainColor":46},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图",[24,55,27,215,29,7,303,996,175,37,58,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],54,{"id":3456,"slug":3457,"title":3458,"dynasty":153,"author":315,"museum":78,"description":3459,"tags":3460,"thumbUrl":3461,"material":86,"size":86,"collection":86,"collections":3462,"showCount":3454,"zanCount":11,"manualWeight":11,"mainColor":71},227640,"song-ge-guan-chao-tu-ma-yuan-227640","松阁观潮图","绢本，设色，190.9×94.5ＣＭ，美国弗利尔美术馆藏。绘山峰奇险，一轮明月与绝壁相对，山脚下古松苍劲笔直，树下凉中一人凭栏眺望，不远处应有潮水奔腾，水面上避风处二船停泊，一小童在船上正伏桌打盹，看来夜已深了。此图原题：马远松阁观潮图。然则细观之下，与王谔的风格很相似，当是明代宫廷画家之作品。",[23,24,25,55,215,27,28,36,29,84,61,60,7,34,273,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42a106aaf591df8e3bae9f9e22cb844.jpg",[],{"id":3464,"slug":3465,"title":2935,"dynasty":153,"author":525,"museum":392,"description":3466,"tags":3467,"thumbUrl":3468,"material":233,"size":3469,"collection":162,"collections":3470,"showCount":3454,"zanCount":11,"manualWeight":11,"mainColor":46},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[23,24,27,29,26,7,33,63,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[162,42,131],{"id":3472,"slug":3473,"title":3474,"dynasty":153,"author":3475,"museum":78,"description":3476,"tags":3477,"thumbUrl":3478,"material":128,"size":3479,"collection":162,"collections":3480,"showCount":3454,"zanCount":11,"manualWeight":11,"mainColor":46},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,24,25,26,28,29,61,32,31,7,33,34,60,58,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[162,42,131],{"id":3482,"slug":3483,"title":3484,"dynasty":109,"author":3485,"museum":78,"description":3486,"tags":3487,"thumbUrl":3498,"material":86,"size":86,"collection":86,"collections":3499,"showCount":3500,"zanCount":592,"manualWeight":11,"mainColor":46},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,25,694,56,28,29,31,7,33,34,143,32,3488,3489,3490,3491,3492,3493,3494,3495,3496,3497],"青绿山水","设色山水","扇面画","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],53,{"id":3502,"slug":3503,"title":3504,"dynasty":109,"author":3237,"museum":138,"description":3505,"tags":3506,"thumbUrl":3507,"material":3508,"size":3509,"collection":86,"collections":3510,"showCount":3500,"zanCount":592,"manualWeight":11,"mainColor":46},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,25,215,29,27,36,34,33,32,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纸本 ，墨笔","纵91.8cm，横49.5cm",[],{"id":3512,"slug":3513,"title":3514,"dynasty":109,"author":1406,"museum":3515,"description":3516,"tags":3517,"thumbUrl":3519,"material":116,"size":3520,"collection":42,"collections":3521,"showCount":3500,"zanCount":592,"manualWeight":11,"mainColor":46},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","中国国家博物馆","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,24,28,36,215,29,34,31,7,357,3518,32,33],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 横75.01CM",[42,131],{"id":3523,"slug":3524,"title":3525,"dynasty":18,"author":326,"museum":96,"description":3526,"tags":3527,"thumbUrl":3528,"material":160,"size":3529,"collection":42,"collections":3530,"showCount":3500,"zanCount":11,"manualWeight":11,"mainColor":46},222364,"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","诗塘 御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[23,24,27,29,7,550,422,34,505,58,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[42,131],{"id":3532,"slug":3533,"title":3534,"dynasty":94,"author":3329,"museum":96,"description":3535,"tags":3536,"thumbUrl":3537,"material":588,"size":3538,"collection":42,"collections":3539,"showCount":3500,"zanCount":11,"manualWeight":11,"mainColor":71},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[23,24,27,36,215,29,357,7,60,31,84,661,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[42,131],{"id":3541,"slug":3542,"title":3543,"dynasty":18,"author":170,"museum":490,"description":3544,"tags":3545,"thumbUrl":3546,"material":100,"size":3547,"collection":42,"collections":3548,"showCount":3500,"zanCount":11,"manualWeight":11,"mainColor":71},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多",[23,24,25,29,28,36,370,157,7,2866,33,34,329,371,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[42],{"id":3550,"slug":3551,"title":3552,"dynasty":18,"author":170,"museum":96,"description":3553,"tags":3554,"thumbUrl":3555,"material":100,"size":3556,"collection":42,"collections":3557,"showCount":3500,"zanCount":11,"manualWeight":11,"mainColor":71},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[24,25,215,28,29,32,31,7,422,34,329,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[42],{"id":3559,"slug":3560,"title":3561,"dynasty":153,"author":3562,"museum":96,"description":3563,"tags":3564,"thumbUrl":3565,"material":100,"size":3566,"collection":42,"collections":3567,"showCount":3500,"zanCount":11,"manualWeight":11,"mainColor":46},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","燕文贵","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,55,24,25,694,27,28,36,29,31,7,2407,33,371,157,997,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[42,162],{"id":3569,"slug":3570,"title":3571,"dynasty":18,"author":3572,"museum":138,"description":3573,"tags":3574,"thumbUrl":3575,"material":100,"size":3576,"collection":42,"collections":3577,"showCount":3500,"zanCount":11,"manualWeight":11,"mainColor":71},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","项圣谟","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,24,29,28,27,36,33,63,7,30,31,32,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[42],{"id":3579,"slug":3580,"title":3581,"dynasty":109,"author":500,"museum":138,"description":3582,"tags":3583,"thumbUrl":3584,"material":276,"size":86,"collection":86,"collections":3585,"showCount":3586,"zanCount":592,"manualWeight":11,"mainColor":46},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,26,27,36,38,82,29,60,7,34,33,1526,357,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],52,{"id":3588,"slug":3589,"title":3590,"dynasty":153,"author":154,"museum":138,"description":1152,"tags":3591,"thumbUrl":3592,"material":116,"size":1156,"collection":86,"collections":3593,"showCount":3586,"zanCount":11,"manualWeight":11,"mainColor":71},234069,"xue-tang-ke-hua-tu-ye-xia-gui-234069","雪堂客话图页",[55,24,27,36,230,29,370,1154,7,174,34,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e55a19b946913db261fab13dbdda68c.jpg",[],{"id":3595,"slug":3596,"title":3597,"dynasty":153,"author":744,"museum":3598,"description":3599,"tags":3600,"thumbUrl":3601,"material":233,"size":3602,"collection":86,"collections":3603,"showCount":3586,"zanCount":592,"manualWeight":11,"mainColor":71},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,55,24,25,26,28,29,36,57,306,516,7,422,32,63,30,31,175,60,141,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":3605,"slug":3606,"title":3607,"dynasty":94,"author":200,"museum":96,"description":3608,"tags":3609,"thumbUrl":3610,"material":100,"size":3611,"collection":42,"collections":3612,"showCount":3586,"zanCount":592,"manualWeight":11,"mainColor":71},219963,"feng-yu-gui-zhou-tu-yi-ming-219963","风雨归舟图","绘风浪中艄公送客渡江的情形，主人在江阁中呈翘首企盼之态，风与浪态势十足，是元人表现风雨的佳作。",[23,24,27,215,29,7,216,84,32,31,36,1579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c48f767776e83b70b453ae534c22dee.jpg","156.6x96.1厘米",[42],{"id":3614,"slug":3615,"title":1939,"dynasty":153,"author":200,"museum":96,"description":3616,"tags":3617,"thumbUrl":3618,"material":100,"size":3619,"collection":162,"collections":3620,"showCount":3586,"zanCount":11,"manualWeight":11,"mainColor":46},218850,"qiu-jiang-yu-ting-tu-yi-ming-218850","画面上，秋日的两岸，渔舟唱晚，文人待渡，近岸松石，远山隐于云间，野桥飞泉，贵人和僮仆无比准备，可谓是 秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[23,24,25,27,28,29,7,31,175,84,36,868,273,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[162,42],{"id":3622,"slug":3623,"title":3624,"dynasty":153,"author":154,"museum":96,"description":3625,"tags":3626,"thumbUrl":3627,"material":100,"size":3628,"collection":42,"collections":3629,"showCount":3586,"zanCount":11,"manualWeight":11,"mainColor":46},218682,"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[23,24,25,694,27,36,29,7,31,357,216,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[42],{"id":3631,"slug":3632,"title":3633,"dynasty":18,"author":3634,"museum":138,"description":3635,"tags":3636,"thumbUrl":3637,"material":177,"size":86,"collection":86,"collections":3638,"showCount":3639,"zanCount":11,"manualWeight":11,"mainColor":46},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 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》。",[23,24,25,26,28,57,27,29,60,7,31,33,574,868,792,84,32,191,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],51,{"id":3641,"slug":3642,"title":3643,"dynasty":153,"author":2530,"museum":96,"description":3644,"tags":3645,"thumbUrl":3647,"material":160,"size":3648,"collection":162,"collections":3649,"showCount":3639,"zanCount":11,"manualWeight":11,"mainColor":71},221489,"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[23,24,28,229,29,61,7,303,33,3646,58],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[162,42,68],{"id":3651,"slug":3652,"title":3653,"dynasty":109,"author":3654,"museum":3090,"description":3655,"tags":3656,"thumbUrl":3657,"material":748,"size":3658,"collection":42,"collections":3659,"showCount":3639,"zanCount":11,"manualWeight":11,"mainColor":71},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,24,25,245,215,28,36,61,30,31,7,33,34,35,771,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[42],{"id":3661,"slug":3662,"title":3663,"dynasty":2508,"author":2509,"museum":720,"description":3664,"tags":3665,"thumbUrl":3666,"material":128,"size":86,"collection":42,"collections":3667,"showCount":3639,"zanCount":11,"manualWeight":11,"mainColor":71},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,24,245,36,28,29,61,30,31,7,34,33,32,273,143,771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[42],{"id":3669,"slug":3670,"title":3671,"dynasty":153,"author":3672,"museum":3673,"description":3674,"tags":3675,"thumbUrl":3676,"material":100,"size":86,"collection":42,"collections":3677,"showCount":3639,"zanCount":592,"manualWeight":11,"mainColor":840},218234,"qiu-dong-shan-shui-tu-yan-ci-ping-218234","秋冬山水图","阎次平","日本东京国立博物馆","墨痕流转间，铺展秋冬清旷之境。近坡古木虬枝，皴擦如老鳞，凝着霜天寒意；中渚水面空濛，一叶孤舟静卧，添了几分寂寥；远山淡抹如烟，隐入云霭，层叠间藏着深远。笔墨简劲却意韵悠长，线条勾勒刚柔相济，墨色晕染浓淡相宜。枯木枝桠横斜，似在风中低语；山石错落，尽显苍劲肌理。秋冬交替的荒寒之美与静谧之趣悄然融合，尽显宋画山水的雅致深邃，引人沉入那片烟水茫茫的悠远意境里。",[55,24,25,215,27,36,29,33,34,7,63,661,84,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfcc4b8c4cb176ad1d96d67695e9810.jpg",[42],{"id":3679,"slug":3680,"title":3681,"dynasty":153,"author":154,"museum":78,"description":1333,"tags":3682,"thumbUrl":3685,"material":359,"size":360,"collection":86,"collections":3686,"showCount":3687,"zanCount":11,"manualWeight":11,"mainColor":46},288327,"ze-pan-ji-feng-tu-xia-gui-288327","泽畔疾风图",[694,24,27,29,142,3067,7,3683,3684,1794,36],"渔人","疾风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc829033f8e29113ad506ff1513a0ed9.jpg",[],50,{"id":3689,"slug":3690,"title":3691,"dynasty":109,"author":200,"museum":78,"description":3692,"tags":3693,"thumbUrl":3694,"material":86,"size":86,"collection":86,"collections":3695,"showCount":3687,"zanCount":11,"manualWeight":11,"mainColor":71},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[24,229,28,57,29,61,7,158,33,3646,143,273,1030,771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":3697,"slug":3698,"title":3699,"dynasty":94,"author":1484,"museum":78,"description":3700,"tags":3701,"thumbUrl":3702,"material":128,"size":3703,"collection":86,"collections":3704,"showCount":3687,"zanCount":11,"manualWeight":11,"mainColor":71},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","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》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,25,26,229,28,57,56,60,61,30,31,7,32,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":3706,"slug":3707,"title":3708,"dynasty":109,"author":3237,"museum":1008,"description":3709,"tags":3710,"thumbUrl":3711,"material":249,"size":86,"collection":42,"collections":3712,"showCount":3687,"zanCount":592,"manualWeight":11,"mainColor":46},219914,"cai-zhao-shi-yi-tu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韦之，号且园，又号南村。辽宁人。凡花木、鸟 兽、鱼龙、人物，无不精妙，尤以山水人物为胜 。其山水沉着，人物生动，深得明吴伟之神趣。另以指头作画著称，奇情异趣，信手而成。本幅画层峦叠翠，山城寺阁错落，溪上泊棹 连樯，岸畔田畴村居。稻田?农人耕作，山径有 行旅载途。溪水溶溶，远山春霭，春意什浓。全 图笔触苍劲，墨色敷彩浓淡有致，层次分明。",[24,28,29,36,215,34,33,31,7,61,142,1445,35,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6464c85911fb2dd25ec5ae4d6085248b.jpg","241.8x128.1cm",[42],{"id":3723,"slug":3724,"title":3725,"dynasty":153,"author":3726,"museum":78,"description":3727,"tags":3728,"thumbUrl":3729,"material":359,"size":360,"collection":86,"collections":3730,"showCount":3731,"zanCount":592,"manualWeight":11,"mainColor":71},288939,"xiao-xiang-ba-jing-yu-cun-luo-zhao-wang-hong-288939","潇湘八景-渔村落照","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[24,25,55,26,27,29,1272,481,7,84,995,2669,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc3334d2253ee018f96ae13d2a02c85.jpg",[],49,{"id":3733,"slug":3734,"title":3735,"dynasty":153,"author":744,"museum":78,"description":3736,"tags":3737,"thumbUrl":3739,"material":359,"size":360,"collection":86,"collections":3740,"showCount":3731,"zanCount":11,"manualWeight":11,"mainColor":71},288471,"jiang-shan-xiao-jing-tu-quan-juan-li-tang-288471","江山小景图全卷","此卷并无李唐签款，有一方祥哥刺吉公主的残印在画卷末缘上端。此卷中描绘一段沿江的山水景观，山中有各式建筑与山径穿绕，江上亦见船帆往来，人物活动丰富多样。画中山体以深浓轮廓线勾勒，藉石青与石绿烘染质面，间以简略皴笔构成凹凸，营造出坚实的山石效果。此一画风特色虽是与两宋之际李唐、萧照相近，但用笔更近阎次平，推测是近于第二代南宋院体画风之作。",[23,55,24,25,26,245,36,28,3738,1220,1129,7,61,37,58],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff97c40d039455fddefa58f3ab617d.jpg",[],{"id":3742,"slug":3743,"title":3744,"dynasty":109,"author":3745,"museum":78,"description":3746,"tags":3747,"thumbUrl":3748,"material":86,"size":3749,"collection":86,"collections":3750,"showCount":3731,"zanCount":11,"manualWeight":11,"mainColor":46},234137,"xi-hu-zai-he-tu-xiang-juan-xie-bin-234137","西湖载鹤图像卷","谢彬","谢彬，字文侯，上虞人，为曾鲸高足，善画人物，兼长山水，清朱彝尊云：“谢彬学曾鲸氏而有得者也。”所作《朱葵石像》录于《中国绘画史图录》，《颜修来题壁图像》册页录于《中国书画过目汇考附目》，《渔乐图》录于《赖古堂书画集》。张学曾，字尔唯，号学庵，会稽人，自幼好画，为“画中九友”之一，山水师董源，喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩，传世作《仿倪云林山水图》，藏故宫博物院，《秋兴诗意图》册录于《虚斋名画录》，《赠别图》录于《中国绘画史册》。金古良，字射堂，山阴人，善画人物，作《无双谱》，集书、画、诗为一体，甚杰出，称誉海内。李因，字今生，号是庵，会稽人，女画家，工花卉禽鸟，画多水墨，苍老无闺阁气，精于写生，点染生动，大幅更佳，亦善刻，曾刻其师陈白阳像奉之，传世作《墨花鸟》卷藏故宫博物院，《鸟竹图》扇面，录于《铁琴铜剑楼藏扇集锦》，《荷花鸳鸯图》藏南京博物院。李因之夫葛无征，亦善山水。",[23,24,55,25,26,28,56,57,29,61,30,31,7,63,32,33,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349f77f272eba5b173d116e21d035d63.jpg","横：419.3cm，纵：16.7cm",[],{"id":3752,"slug":3753,"title":3754,"dynasty":94,"author":242,"museum":138,"description":3755,"tags":3756,"thumbUrl":3757,"material":424,"size":425,"collection":86,"collections":3758,"showCount":3731,"zanCount":11,"manualWeight":11,"mainColor":46},234099,"yu-fu-tu-zhou-wu-zhen-234099","渔父图轴","在中国古代，渔、樵、耕、读，常常被文人士大夫视为理想化的生活方式，并常被用作文艺作品的主题，以表达作者避世遁隐的愿望，其中尤以“渔隐”的素材最为普遍。时至元代，汉族文人仕进无门，社会地位骤降，江南士人遭遇尤甚。于是，“渔隐”就更频繁地出现在绘画作品中，其中以吴镇的《渔父图》最为典型。吴镇善作“渔隐”题材的山水画，传世《渔父图》即有多幅，此图是其中较有代表性的一幅。图中描绘江南水乡景色，平冈丛树，一渔父驾小舟逍遥于湖弯水色之间。全图墨色苍润，山石、树木、枝叶都注意到了墨色浓淡的交替运用，借以表现层次关系并突出主要物象。笔法多变，皴擦点染，均可看出作者高超的控笔能力。湖山间幽僻清寂的意境跃然纸上，给人以远离尘俗之感。吴镇的《渔父图》大都以秀劲潇洒的草书《渔父群》相配，诗、书、画相得益彰。即如此图中所书：“目斷煙波青有無，霜凋楓葉錦模糊。千尺浪，四鰓鱸，詩筒相對酒葫蘆。”诗为画图点睛，真切地表达出 “一叶随风万里身”的隐逸情思。",[24,25,215,27,36,38,58,29,7,31,84,216,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg",[],{"id":3760,"slug":3761,"title":3762,"dynasty":153,"author":154,"museum":467,"description":3763,"tags":3764,"thumbUrl":3765,"material":3766,"size":3767,"collection":86,"collections":3768,"showCount":3731,"zanCount":11,"manualWeight":11,"mainColor":46},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[23,24,694,27,36,29,7,216,175,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","绢本 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明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,24,27,36,215,29,458,7,31,1107,33,60,61,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[42],{"id":3808,"slug":3809,"title":3810,"dynasty":18,"author":3811,"museum":490,"description":3812,"tags":3813,"thumbUrl":3815,"material":748,"size":86,"collection":42,"collections":3816,"showCount":3731,"zanCount":11,"manualWeight":11,"mainColor":46},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,24,25,26,38,3814,203,27,28,60,61,30,31,7,32,422,34,58],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[42,849],{"id":3818,"slug":3819,"title":3820,"dynasty":153,"author":3821,"museum":96,"description":3822,"tags":3823,"thumbUrl":3824,"material":100,"size":86,"collection":162,"collections":3825,"showCount":3731,"zanCount":11,"manualWeight":11,"mainColor":46},218935,"song-xiu-yu-cun-tu-gao-ke-ming-218935","松岫渔村图","高克明","在画作中央的山坡上画着一栋村舍，它与右边的坡石由一座木桥连接，桥下的溪水流淌着，仿佛在鸣叫。桥上的一个男人正向村子走去，后面跟着一个孩子。坡岸上有房屋和树木，远处的山峰上也有树木；远处的山峰被涂上了鲜艳的色彩，还有蒸腾的雾气，这种场景类似于中国南方的晚春日落。这幅作品的构图是典型的边缘化，场景本身只占整个画面的一半，形成一条从远处山顶的树梢到倾斜的海岸的对角线。虽然这是一部小作品，但它具有巨大和深远的潜力。笔触低调，构图和主题一再显示出与马夏画派的亲和力。",[23,24,694,29,357,34,33,31,7,36,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a818024b4d6462ac770c4d1cfc69bc.jpg",[162],{"id":3827,"slug":3828,"title":3829,"dynasty":285,"author":286,"museum":78,"description":3830,"tags":3831,"thumbUrl":3834,"material":359,"size":360,"collection":86,"collections":3835,"showCount":3836,"zanCount":11,"manualWeight":11,"mainColor":71},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,55,24,25,26,245,27,36,3832,142,1220,7,538,290,3833,2840],"湖泊","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],48,{"id":3838,"slug":3839,"title":3840,"dynasty":18,"author":3841,"museum":392,"description":3842,"tags":3843,"thumbUrl":3844,"material":86,"size":86,"collection":42,"collections":3845,"showCount":3836,"zanCount":592,"manualWeight":11,"mainColor":46},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[23,24,26,28,29,36,723,562,142,33,30,31,7,61,32,1409,816,158,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[42,68],{"id":3847,"slug":3848,"title":3849,"dynasty":109,"author":3850,"museum":96,"description":3851,"tags":3852,"thumbUrl":3857,"material":588,"size":3858,"collection":42,"collections":3859,"showCount":3836,"zanCount":11,"manualWeight":11,"mainColor":46},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,57,28,61,505,3853,7,33,60,3854,3855,3856],"荷花","纳凉","消夏","行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg","188.2*102.2cm",[42,68],{"id":3861,"slug":3862,"title":1026,"dynasty":18,"author":3863,"museum":96,"description":3864,"tags":3865,"thumbUrl":3874,"material":331,"size":3875,"collection":42,"collections":3876,"showCount":3836,"zanCount":592,"manualWeight":11,"mainColor":71},222241,"yu-le-tu-ding-yu-chuan-222241","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,28,29,57,7,175,550,3866,273,143,31,868,422,2559,996,247,3867,174,3868,3683,1581,3869,3870,3371,274,1687,3871,600,1083,1690,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Kong Museum of Art","此作用笔苍浑华滋，以焦墨积染绘近处茂林，层叠草木间晕开青绿淡赭，将山野蓬勃生机尽数铺展。水畔茅舍静立，泊岸小舟轻倚，行船渔者悠然划破水面，动静相生，把山居渔隐的闲逸揉入湖山之间。\n\n远景山峦以淡墨轻勾，朦胧清浅，与近景的浓郁苍郁形成虚实对照，留白处晕出水气氤氲的浩渺湖面，清润之意扑面而来。笔墨兼具浑厚与灵秀，将江南山湖的清寂温润凝于笔底，仿若踏入这幽宁天地，浸在清润山野气息中，漫品这份静谧悠然的林下意趣。",[23,24,27,28,36,29,33,246,7,3952,175],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b60bc42a4857c41184dcc898aecd8d.jpg",[],{"id":3956,"slug":3957,"title":3958,"dynasty":153,"author":187,"museum":96,"description":3959,"tags":3960,"thumbUrl":3964,"material":100,"size":3965,"collection":42,"collections":3966,"showCount":3918,"zanCount":11,"manualWeight":11,"mainColor":46},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,25,27,28,36,29,3961,3962,7,34,33,143,792,273,2210,3963],"烟雨","江帆","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[42],{"id":3968,"slug":3969,"title":3970,"dynasty":94,"author":242,"museum":78,"description":3971,"tags":3972,"thumbUrl":3973,"material":359,"size":360,"collection":86,"collections":3974,"showCount":3975,"zanCount":450,"manualWeight":11,"mainColor":71},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,25,215,27,29,7,141,63,60,31,33,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],46,{"id":3977,"slug":3978,"title":3979,"dynasty":18,"author":3980,"museum":78,"description":3981,"tags":3982,"thumbUrl":3983,"material":359,"size":360,"collection":86,"collections":3984,"showCount":3975,"zanCount":592,"manualWeight":11,"mainColor":46},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[24,230,29,27,28,550,59,30,63,32,7,35,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],{"id":3986,"slug":3987,"title":466,"dynasty":153,"author":187,"museum":78,"description":3988,"tags":3989,"thumbUrl":3990,"material":359,"size":360,"collection":86,"collections":3991,"showCount":3975,"zanCount":592,"manualWeight":11,"mainColor":71},288643,"shu-se-ping-yuan-tu-guo-xi-288643","描绘的是一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。",[55,24,25,26,27,29,84,32,30,7,141,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],{"id":3993,"slug":3994,"title":3995,"dynasty":18,"author":3996,"museum":78,"description":3997,"tags":3998,"thumbUrl":4000,"material":86,"size":86,"collection":262,"collections":4001,"showCount":3975,"zanCount":11,"manualWeight":11,"mainColor":46},238667,"cai-lian-tu-zhou-shen-zhen-238667","采莲图轴","沈贞","沈贞（1400－？ ）一名贞吉，号南斋、陶然道人，长洲（今江苏苏州）人，画家沈周的伯父。工诗文，善绘事，山水取法董源，得元代诸家尤多，与其弟恒吉（沈周之父），诗词皆甚有名，互相唱酬，时谓“埙箴相映”。",[24,25,215,28,57,60,7,3999,422,141,31],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d15d0ab56023439f09f62b240c241.jpg",[262],{"id":4003,"slug":4004,"title":4005,"dynasty":153,"author":187,"museum":138,"description":4006,"tags":4007,"thumbUrl":4008,"material":1885,"size":4009,"collection":86,"collections":4010,"showCount":3975,"zanCount":592,"manualWeight":11,"mainColor":46},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[24,25,230,29,27,36,7,84,34,31,33,503,995,273,3884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg","纵26.2厘米，横27厘米",[],{"id":4012,"slug":4013,"title":4014,"dynasty":109,"author":500,"museum":78,"description":4015,"tags":4016,"thumbUrl":4017,"material":86,"size":86,"collection":86,"collections":4018,"showCount":3975,"zanCount":11,"manualWeight":11,"mainColor":46},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[24,25,230,28,27,29,7,31,34,33,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":4020,"slug":4021,"title":4022,"dynasty":18,"author":170,"museum":4023,"description":4024,"tags":4025,"thumbUrl":4026,"material":1178,"size":4027,"collection":86,"collections":4028,"showCount":3975,"zanCount":592,"manualWeight":11,"mainColor":71},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","河北省博物馆","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,24,215,29,36,28,306,516,7,33,61,34,246,1673,562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":4030,"slug":4031,"title":4032,"dynasty":18,"author":4033,"museum":138,"description":4034,"tags":4035,"thumbUrl":4036,"material":4037,"size":4038,"collection":42,"collections":4039,"showCount":3975,"zanCount":11,"manualWeight":11,"mainColor":71},222418,"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","蒋嵩","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[23,24,25,215,27,28,29,7,60,33,158,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[42,131],{"id":4041,"slug":4042,"title":4043,"dynasty":153,"author":187,"museum":3247,"description":4044,"tags":4045,"thumbUrl":4046,"material":4047,"size":4048,"collection":162,"collections":4049,"showCount":3975,"zanCount":11,"manualWeight":11,"mainColor":46},221287,"dai-du-tu-ye-guo-xi-221287","待渡图页","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,25,230,27,28,29,174,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[162,42,131],{"id":4051,"slug":4052,"title":4053,"dynasty":109,"author":1406,"museum":138,"description":4054,"tags":4055,"thumbUrl":4056,"material":40,"size":4057,"collection":42,"collections":4058,"showCount":3975,"zanCount":11,"manualWeight":11,"mainColor":46},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,55,24,25,26,27,36,29,33,143,246,7,273,2388,770,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[42,68],{"id":4060,"slug":4061,"title":4062,"dynasty":18,"author":19,"museum":1008,"description":2966,"tags":4063,"thumbUrl":4064,"material":40,"size":2969,"collection":86,"collections":4065,"showCount":3975,"zanCount":11,"manualWeight":11,"mainColor":71},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,24,25,230,27,36,29,30,31,7,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":4067,"slug":4068,"title":4069,"dynasty":153,"author":744,"museum":96,"description":4070,"tags":4071,"thumbUrl":4072,"material":100,"size":4073,"collection":42,"collections":4074,"showCount":3975,"zanCount":11,"manualWeight":11,"mainColor":46},218822,"guan-shan-xing-lv-tu-li-tang-218822","关山行旅图","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,55,24,25,230,29,31,7,61,158,357,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[42],{"id":4076,"slug":4077,"title":937,"dynasty":153,"author":2177,"museum":78,"description":4078,"tags":4079,"thumbUrl":4080,"material":359,"size":360,"collection":86,"collections":4081,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":71},287639,"shui-cun-tu-zhao-ling-rang-287639","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[55,24,25,215,28,56,29,30,31,7,84,2085],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],{"id":4083,"slug":4084,"title":4085,"dynasty":153,"author":187,"museum":78,"description":4086,"tags":4087,"thumbUrl":4088,"material":86,"size":86,"collection":86,"collections":4089,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":71},228914,"dai-du-tu-guo-xi-228914","待渡图","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,55,24,25,26,29,36,28,30,31,7,32,33,34,60,273,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":4091,"slug":4092,"title":4093,"dynasty":18,"author":2082,"museum":52,"description":4094,"tags":4095,"thumbUrl":4096,"material":27,"size":4097,"collection":86,"collections":4098,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,25,26,27,28,29,36,38,58,37,61,30,31,7,32,33,34,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 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ao-287543","松溪泛月轴","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[55,24,25,215,29,27,28,36,303,31,7,84,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],{"id":4177,"slug":4178,"title":2448,"dynasty":18,"author":19,"museum":138,"description":2449,"tags":4179,"thumbUrl":4180,"material":233,"size":2452,"collection":86,"collections":4181,"showCount":4159,"zanCount":11,"manualWeight":11,"mainColor":46},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090",[24,25,230,27,29,38,58,36,61,357,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg",[],{"id":4183,"slug":4184,"title":789,"dynasty":18,"author":51,"museum":96,"description":4185,"tags":4186,"thumbUrl":4195,"material":100,"size":4196,"collection":86,"collections":4197,"showCount":4159,"zanCount":11,"manualWeight":11,"mainColor":71},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[24,245,57,28,29,4187,142,1143,7,60,4188,1592,4189,4190,4191,4192,4193,4194],"秋水","房舍","秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","纵155．4厘米，横133.4厘米",[],{"id":4199,"slug":4200,"title":4201,"dynasty":153,"author":315,"museum":78,"description":4202,"tags":4203,"thumbUrl":4204,"material":86,"size":86,"collection":86,"collections":4205,"showCount":4159,"zanCount":592,"manualWeight":11,"mainColor":71},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,25,26,57,36,60,33,30,31,34,2868,574,7,304,357,174,246,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":4207,"slug":4208,"title":4209,"dynasty":153,"author":4210,"museum":78,"description":4211,"tags":4212,"thumbUrl":4214,"material":86,"size":86,"collection":86,"collections":4215,"showCount":4159,"zanCount":592,"manualWeight":11,"mainColor":71},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,25,24,55,26,56,28,57,36,37,58,29,60,61,30,31,7,32,141,4213,33],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":4217,"slug":4218,"title":4219,"dynasty":109,"author":4220,"museum":188,"description":4221,"tags":4222,"thumbUrl":4223,"material":40,"size":4224,"collection":42,"collections":4225,"showCount":4159,"zanCount":11,"manualWeight":11,"mainColor":46},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,25,215,27,36,29,306,32,30,31,7,33,35,143,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[42],{"id":4227,"slug":4228,"title":4229,"dynasty":94,"author":432,"museum":78,"description":4230,"tags":4231,"thumbUrl":4234,"material":359,"size":360,"collection":86,"collections":4235,"showCount":4236,"zanCount":11,"manualWeight":11,"mainColor":46},290837,"ceng-luan-song-cui-zhou-wang-meng-290837","层峦耸翠轴","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。",[24,27,215,29,36,4232,34,33,31,7,4233,58,2669],"层峦","亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedd8bd1842dbdc4031e3d3b7ea5de38.jpg",[],43,{"id":4238,"slug":4239,"title":4240,"dynasty":153,"author":2356,"museum":78,"description":4241,"tags":4242,"thumbUrl":4243,"material":359,"size":360,"collection":86,"collections":4244,"showCount":4236,"zanCount":11,"manualWeight":11,"mainColor":71},289957,"xue-jing-shan-shui-ye-liang-kai-289957","雪景山水页","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。",[24,55,694,27,36,29,371,174,7,1794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626a1cd836e0e08dc4762048b518eb9f.jpg",[],{"id":4246,"slug":4247,"title":4248,"dynasty":153,"author":154,"museum":78,"description":4249,"tags":4250,"thumbUrl":4251,"material":86,"size":86,"collection":86,"collections":4252,"showCount":4236,"zanCount":11,"manualWeight":11,"mainColor":71},227729,"mei-xia-du-shu-tu-ye-xia-gui-227729","梅下读书图页","夏圭的山水画看似简单却饱含意境，“夏半边”的陈设方式在表现山水韵味的基础上具有一定的文人画意味，这种画面的大胆裁剪体现出了中国画“计白当黑”的美学标准，是画面“置陈布势”的重要组成部分。",[23,24,25,230,27,28,29,60,1209,7,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46974e98376d3ea1cd40fa451fdba27.jpg",[],{"id":4254,"slug":4255,"title":4256,"dynasty":18,"author":51,"museum":269,"description":4257,"tags":4258,"thumbUrl":4259,"material":1178,"size":4260,"collection":86,"collections":4261,"showCount":4236,"zanCount":450,"manualWeight":11,"mainColor":46},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,25,26,28,57,56,38,58,29,60,7,792,33,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":4263,"slug":4264,"title":339,"dynasty":18,"author":200,"museum":490,"description":4265,"tags":4266,"thumbUrl":4267,"material":748,"size":4268,"collection":42,"collections":4269,"showCount":4236,"zanCount":11,"manualWeight":11,"mainColor":71},214694,"shan-shui-tu-yi-ming-214694","这幅画描绘的是江村的一座古庙，深藏在一个大峡谷中，远处是风帆和山脉。这幅画没有标记，但仔细观察，其风格接近于浙江画派的蒋宋。",[23,24,27,36,29,7,357,158,505,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5ab4f76c39dddea71108f0742f713f.jpg","161.5x100",[42],{"id":4271,"slug":4272,"title":4273,"dynasty":94,"author":432,"museum":96,"description":4230,"tags":4274,"thumbUrl":4275,"material":249,"size":806,"collection":86,"collections":4276,"showCount":4277,"zanCount":11,"manualWeight":11,"mainColor":46},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐",[55,24,25,215,27,29,31,7,1176,142,33,446,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373c447b94d504da403c02a1b7ece0b1.jpg",[],42,{"id":4279,"slug":4280,"title":4281,"dynasty":18,"author":4282,"museum":78,"description":4283,"tags":4284,"thumbUrl":4285,"material":86,"size":86,"collection":86,"collections":4286,"showCount":4277,"zanCount":11,"manualWeight":11,"mainColor":71},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","杜琼","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,25,26,27,28,36,81,29,972,33,35,246,7,63,30,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":4288,"slug":4289,"title":4290,"dynasty":1551,"author":4291,"museum":1971,"description":4292,"tags":4293,"thumbUrl":4295,"material":86,"size":86,"collection":86,"collections":4296,"showCount":4277,"zanCount":11,"manualWeight":11,"mainColor":46},220568,"li-jiang-chun-yu-xu-bei-hong-220568","漓江春雨","徐悲鸿","以淋漓水墨晕染出漓江烟雨空濛之态，层叠峰林隐现于烟岚之中，墨色浓淡铺就山势虚实，尽显丘林隽秀朦胧。水面如镜，将山色树影晕化在柔波里，氤氲出水墨交融的湿润意趣。\n\n扁舟渔翁持篙独行，点活了整幅静美画卷，林麓间错落村舍，晕染出乡野恬淡烟火。画作揉合中西技法，既有传统文人山水留白写意的诗意，又暗含西画光影层次，将春雨漓江的温润柔婉，野渡闲静雅趣尽数铺展，满是东方山水的悠远意境。",[24,27,114,29,142,7,216,33,505,4294,175],"倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228f0942de448fbbc8e726550e5df463.jpg",[],{"id":4298,"slug":4299,"title":2448,"dynasty":18,"author":19,"museum":138,"description":2449,"tags":4300,"thumbUrl":4301,"material":233,"size":2452,"collection":86,"collections":4302,"showCount":4303,"zanCount":11,"manualWeight":11,"mainColor":46},234091,"wu-zhong-shan-shui-ce-shen-zhou-234091",[24,25,230,27,36,38,58,29,33,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768131a771cc65321f3cd34baec811ed.jpg",[],41,{"id":4305,"slug":4306,"title":2448,"dynasty":18,"author":19,"museum":138,"description":2449,"tags":4307,"thumbUrl":4308,"material":233,"size":2452,"collection":86,"collections":4309,"showCount":4303,"zanCount":11,"manualWeight":11,"mainColor":46},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087",[24,25,230,27,36,38,58,29,30,31,33,35,7,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46249d3f1a8b1efdae161fb0542ffbf.jpg",[],{"id":4311,"slug":4312,"title":4313,"dynasty":18,"author":170,"museum":96,"description":4314,"tags":4315,"thumbUrl":4316,"material":128,"size":4317,"collection":42,"collections":4318,"showCount":4303,"zanCount":11,"manualWeight":11,"mainColor":71},222596,"xi-shan-xue-ji-tu-lan-ying-222596","溪山雪霁图","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,28,36,29,371,7,216,174,357,34,157,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[42,68],{"id":4320,"slug":4321,"title":4322,"dynasty":18,"author":4323,"museum":490,"description":4324,"tags":4325,"thumbUrl":4327,"material":100,"size":4328,"collection":262,"collections":4329,"showCount":4303,"zanCount":11,"manualWeight":11,"mainColor":71},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,25,27,36,28,29,31,7,2113,60,84,175,247,661,4326,3867,33,1581,3683,1818],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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: : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[55,24,25,230,27,36,37,58,29,30,31,7,158,33,4466],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":4470,"slug":4471,"title":4472,"dynasty":18,"author":4473,"museum":78,"description":4474,"tags":4475,"thumbUrl":4476,"material":86,"size":86,"collection":86,"collections":4477,"showCount":4451,"zanCount":11,"manualWeight":11,"mainColor":46},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,25,26,27,29,36,37,38,306,516,33,30,31,32,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":4479,"slug":4480,"title":4481,"dynasty":18,"author":51,"museum":78,"description":4482,"tags":4483,"thumbUrl":4484,"material":86,"size":86,"collection":86,"collections":4485,"showCount":4451,"zanCount":11,"manualWeight":11,"mainColor":46},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,56,28,57,26,25,38,29,60,7,31,32,33,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":4487,"slug":4488,"title":4489,"dynasty":94,"author":607,"museum":78,"description":4490,"tags":4491,"thumbUrl":4492,"material":86,"size":86,"collection":86,"collections":4493,"showCount":4451,"zanCount":592,"manualWeight":11,"mainColor":71},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,27,28,29,36,7,60,142,33,32,61,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":4495,"slug":4496,"title":4497,"dynasty":153,"author":200,"museum":78,"description":4498,"tags":4499,"thumbUrl":4500,"material":86,"size":86,"collection":86,"collections":4501,"showCount":4451,"zanCount":11,"manualWeight":11,"mainColor":71},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,24,25,26,27,29,36,31,7,142,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":4503,"slug":4504,"title":4505,"dynasty":153,"author":4506,"museum":78,"description":4507,"tags":4508,"thumbUrl":4509,"material":86,"size":86,"collection":86,"collections":4510,"showCount":4451,"zanCount":11,"manualWeight":11,"mainColor":71},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,24,25,26,27,36,29,972,33,329,246,7,63,174,273,2210,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":4512,"slug":4513,"title":4514,"dynasty":109,"author":3319,"museum":138,"description":4515,"tags":4516,"thumbUrl":4517,"material":1178,"size":4518,"collection":42,"collections":4519,"showCount":4451,"zanCount":11,"manualWeight":11,"mainColor":71},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,24,215,229,29,61,34,33,143,7,28,36,60,216,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[42,68],{"id":4521,"slug":4522,"title":4523,"dynasty":18,"author":4524,"museum":4525,"description":4526,"tags":4527,"thumbUrl":4529,"material":233,"size":4530,"collection":849,"collections":4531,"showCount":4451,"zanCount":592,"manualWeight":11,"mainColor":46},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","祝允明","苏州博物馆","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,38,37,26,58,27,4528,25,7,61,29,63,481,303],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[849],{"id":4533,"slug":4534,"title":4535,"dynasty":153,"author":187,"museum":467,"description":1258,"tags":4536,"thumbUrl":4537,"material":1885,"size":472,"collection":162,"collections":4538,"showCount":4451,"zanCount":11,"manualWeight":11,"mainColor":46},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[23,24,25,26,245,27,28,36,57,37,38,58,29,422,7,30,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[162,42,131],{"id":4540,"slug":4541,"title":4542,"dynasty":94,"author":607,"museum":20,"description":4543,"tags":4544,"thumbUrl":4549,"material":100,"size":4550,"collection":42,"collections":4551,"showCount":4451,"zanCount":11,"manualWeight":11,"mainColor":71},220406,"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[23,24,55,28,60,29,7,33,142,304,4545,4546,4547,4548,36],"长啸","阮籍","竹林七贤","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[42,68],{"id":4553,"slug":4554,"title":4555,"dynasty":109,"author":3127,"museum":20,"description":4556,"tags":4557,"thumbUrl":4558,"material":100,"size":4559,"collection":262,"collections":4560,"showCount":4451,"zanCount":592,"manualWeight":11,"mainColor":46},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[24,245,215,27,28,36,34,272,31,7,35,357,174,157,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 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“主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,24,25,27,28,36,29,142,34,33,174,7,1082,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[162,42,131],{"id":4613,"slug":4614,"title":4615,"dynasty":18,"author":4616,"museum":392,"description":4617,"tags":4618,"thumbUrl":4619,"material":4620,"size":4621,"collection":42,"collections":4622,"showCount":4580,"zanCount":11,"manualWeight":11,"mainColor":71},221876,"shan-shui-tu-bi-geng-yuan-gao-ran-hui-221876","山水图(笔耕园）","高然晖","《笔耕园》是将室町时代（1336年－1573年，当时倭寇开始在我国为祸，大量文物自此流失）及以后舶来的中国画汇集而成的手鉴。\n《笔耕园》收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有一些其他朝代品质极高的作品。",[23,24,25,27,36,29,30,31,7,34,143,33,157,1052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b47ef1948cd9cb76d6fe494279e3f24.jpg","纸本墨画","24.3×33.2",[42,131],{"id":4624,"slug":4625,"title":4626,"dynasty":109,"author":4627,"museum":4628,"description":4629,"tags":4630,"thumbUrl":4631,"material":4632,"size":4633,"collection":42,"collections":4634,"showCount":4580,"zanCount":592,"manualWeight":11,"mainColor":86},220734,"xun-qin-tu-huang-xiang-jian-220734","寻亲图","黄向坚","香港中文大学文物馆","此作用平远糅合高远之章法，左侧危崖突兀，青绿晕染出山峦温润秀雅之态，皴笔勾勒，尽显山石苍劲肌理。浩渺平湖铺陈开开阔景致，洲渚错落星罗，村居隐于葱郁林木间，渔舟泛于烟波之上，三两行人点缀水岸。\n\n远山以淡墨轻岚晕染，虚实相生，尽显江南水泽空濛诗意。笔意清隽柔和，设色淡雅妍丽，承唐宋青绿山水古雅意趣，又以细腻布景传递羁旅怀思，于秀逸湖山之间，暗合迢迢心绪，淡远悠长。",[24,25,26,28,29,36,142,246,7,33,2085,60,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6aa9dc2fa40177d86a07917e44bf59.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[42],{"id":4636,"slug":4637,"title":4638,"dynasty":18,"author":4639,"museum":720,"description":4640,"tags":4641,"thumbUrl":4642,"material":40,"size":4643,"collection":42,"collections":4644,"showCount":4580,"zanCount":592,"manualWeight":11,"mainColor":71},220046,"fang-li-tang-shan-shui-tu-xue-zhou-220046","仿李唐山水图","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,25,29,81,215,36,7,34,33,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82609ea78fd36a8daf7f3337485640e.jpg","143.7x72.5",[42],{"id":4646,"slug":4647,"title":512,"dynasty":109,"author":200,"museum":1048,"description":4648,"tags":4649,"thumbUrl":4650,"material":100,"size":86,"collection":42,"collections":4651,"showCount":4580,"zanCount":11,"manualWeight":11,"mainColor":71},219905,"shan-ju-tu-yi-ming-219905","淡墨晕开空濛烟岚，奇崛峰石隐现于流云薄雾，恍如世外仙乡。山麓楼阁层叠，飞檐翘角掩映苍林，板桥通幽，行人徐行，漫溢出山居的悠然意趣。近岸垂柳依依，渔舟泛于微波之上，渔翁垂纶闲坐，汀渚浅滩缀着顽石，野趣横生。\n\n此作用水墨淡设色晕染，烘托出氤氲空寂氛围，将高远、平远之境相融，铺陈开山野幽居的静谧雅致，似能触到山涧湿润清风，窥见古人幽栖林泉的隐逸清梦，尽显传统山水含蓄悠然的意境之美。",[24,28,29,36,61,30,31,7,33,142,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd3090754485169aca224d8eaa9304c.jpg",[42],{"id":4653,"slug":4654,"title":4655,"dynasty":109,"author":2695,"museum":96,"description":4656,"tags":4657,"thumbUrl":4658,"material":233,"size":4659,"collection":42,"collections":4660,"showCount":4580,"zanCount":592,"manualWeight":11,"mainColor":46},219441,"xue-pu-gui-fan-tu-zhou-qian-wei-cheng-219441","雪浦归帆图轴","积雪覆岩如素缣裹玉，远峰巍峨耸峙，寒气沁入笔墨肌理。中浦波静似镜，一叶轻舟破寒烟而来，帆影斜掠水面，漾开细碎的清寂。近岸石皴木瘦，寒林疏枝以焦墨勾勒，松针如簇仍带苍劲，间杂几间茅舍隐于崖侧，柴门半掩似待归人。山石用干笔皴擦显其骨，积雪以留白衬其洁，墨色层次淡远如雾笼寒川。天地间尽是清旷气，归帆的暖意却悄悄融于冷寂——笔墨间藏着冬日山水的幽寂与生机，将文人对自然的体察、对烟火的温柔打量，都凝在这素净疏旷的帧幅里。",[24,25,55,215,27,57,36,29,370,7,33,30,31,34,32,174,357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf3f03012d111bbabd7ea73ecb7622c.jpg","114.9x64.4",[42],{"id":4662,"slug":4663,"title":4664,"dynasty":18,"author":170,"museum":138,"description":4665,"tags":4666,"thumbUrl":4667,"material":100,"size":4668,"collection":42,"collections":4669,"showCount":4580,"zanCount":11,"manualWeight":11,"mainColor":71},219304,"xue-jing-zhou-lan-ying-219304","雪景轴","蓝瑛（西元一五八五－一六六四年以后）字田叔，号蝶叟，杭州钱塘人。善山水，初学元黄公望，并遍临唐宋元各家，构图精整，傅色明艳，晚年作品笔墨苍劲老辣，傅色趋于雅淡。他也擅长花竹、人物画，是浙派后期的重要画家。此幅画溪山积雪，其间点缀楼宇、蓬舟、危桥、栈道和行人。山石纯用短斫，兼以烘染。用笔率直老健，作于一六五九年，是七十五岁的力作。",[24,25,215,28,29,30,31,7,60,816,34,36,84,32,2407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9284fc8674ac05bd3e157f3659003486.jpg","268x68.8",[42],{"id":4671,"slug":4672,"title":4673,"dynasty":153,"author":4674,"museum":78,"description":4675,"tags":4676,"thumbUrl":4677,"material":27,"size":86,"collection":42,"collections":4678,"showCount":4580,"zanCount":592,"manualWeight":11,"mainColor":71},218547,"han-lin-po-zhou-tu-huang-geng-218547","寒林泊舟图","黄庚","虬枝如铁，皴染出雪后寒林的苍劲。石矶覆素，茅舍隐于烟霭间，孤舟横卧岸侧，似待归人。云雾轻笼远岫，留白处漾开清寂。笔致简淡却含韵致，枯笔勾勒的枝桠带着凛冽的诗意。天地间素墨交融，静穆中藏着一丝暖意——或许是窗内的灯影，或许是舟畔的微雪。山风掠过枝梢，与寒林私语，时光在此放缓。素白的雪，墨色的树，朦胧的雾，交织成一幅冬日的静美画卷，让人心生安宁，仿佛能听见舟中茶烟袅袅，与天地同呼吸。",[24,457,215,36,29,997,174,7,32,371,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9b66ef1b1a00835ad849fb37b80a87.jpg",[42],{"id":4680,"slug":4681,"title":4682,"dynasty":18,"author":3980,"museum":20,"description":4354,"tags":4683,"thumbUrl":4684,"material":40,"size":4357,"collection":86,"collections":4685,"showCount":4580,"zanCount":11,"manualWeight":11,"mainColor":46},214664,"san-jue-tu-8-yao-shou-214664","三绝图-8",[24,27,29,7,31,33,996,34,36,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1110a63dd1853271f2174addcb1c94d.jpg",[],{"id":4687,"slug":4688,"title":4689,"dynasty":109,"author":500,"museum":78,"description":2150,"tags":4690,"thumbUrl":4691,"material":359,"size":360,"collection":86,"collections":4692,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},288834,"xun-xian-ce-ye-8-shi-tao-288834","寻仙册页-8",[24,230,27,28,29,60,7,63,141,31,175,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43215ec3ec475a27bed140b5da70b60f.jpg",[],{"id":4694,"slug":4695,"title":4696,"dynasty":153,"author":3562,"museum":78,"description":4697,"tags":4698,"thumbUrl":4700,"material":359,"size":360,"collection":86,"collections":4701,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},288828,"song-liang-tu-yan-wen-gui-288828","送粮图","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[23,55,24,26,27,29,36,60,33,34,61,31,7,4699,562],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F533c76e388175bfa6ab73fbb0e8b3419.jpg",[],{"id":4703,"slug":4704,"title":958,"dynasty":153,"author":3931,"museum":78,"description":4705,"tags":4706,"thumbUrl":4707,"material":359,"size":360,"collection":86,"collections":4708,"showCount":70,"zanCount":450,"manualWeight":11,"mainColor":840},283687,"xia-shan-tu-qu-ding-283687","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[55,24,25,26,29,27,36,34,33,31,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c9182eec083f60ca90336886ce8a61.jpg",[],{"id":4710,"slug":4711,"title":4712,"dynasty":109,"author":4713,"museum":78,"description":4714,"tags":4715,"thumbUrl":4716,"material":86,"size":86,"collection":42,"collections":4717,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,25,215,27,36,81,29,30,31,7,32,174,35,34,33,771,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[42],{"id":4719,"slug":4720,"title":4721,"dynasty":109,"author":1302,"museum":78,"description":4722,"tags":4723,"thumbUrl":4724,"material":233,"size":86,"collection":86,"collections":4725,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},231940,"qiu-shan-tu-kun-can-231940","秋山图","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,55,24,25,26,27,28,36,29,174,34,31,7,481,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":4727,"slug":4728,"title":4729,"dynasty":94,"author":4730,"museum":96,"description":4731,"tags":4732,"thumbUrl":4733,"material":4734,"size":4735,"collection":86,"collections":4736,"showCount":70,"zanCount":450,"manualWeight":11,"mainColor":46},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","马琬","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,25,26,27,36,29,34,33,31,7,61,58,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纸本墨笔","纵27厘米，横102．5厘米",[],{"id":4738,"slug":4739,"title":4740,"dynasty":18,"author":51,"museum":571,"description":4741,"tags":4742,"thumbUrl":4744,"material":4745,"size":4746,"collection":86,"collections":4747,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},222212,"yu-di-tu-chou-ying-222212","渔笛图","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,24,57,28,29,33,35,7,175,31,60,158,247,36,273,4743],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":4749,"slug":4750,"title":3607,"dynasty":18,"author":4751,"museum":96,"description":4752,"tags":4753,"thumbUrl":4754,"material":27,"size":4755,"collection":131,"collections":4756,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},219359,"feng-yu-gui-zhou-tu-lin-shan-219359","林山","绢本泛黄，墨痕疏淡间，风雨江天的意趣徐徐铺展。一叶扁舟斜横水面，舟中人身形隐约，似在风雨里寻着归途，船桨轻点的弧度，漾开几分仓促又安然的韵致。岸边垂柳被风牵曳，枝条如乱丝垂落，墨线的轻飏里，藏着风的姿态。近处草木以浓墨点染，与远山淡晕的朦胧相映，空阔的江天更显清寂。整幅画以简笔写意，水墨的浓淡交织出萧索与生机的平衡，归舟的动态打破了江天的静穆，却又融于这份空灵之中，尽显文人画的悠远之味。",[55,24,25,215,27,29,7,216,422,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53b1a4c4aee7fb87b3e765521a76a33.jpg","130.9x63",[131],{"id":4758,"slug":4759,"title":4760,"dynasty":94,"author":4761,"museum":96,"description":4762,"tags":4763,"thumbUrl":4764,"material":100,"size":4765,"collection":42,"collections":4766,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},219087,"yun-pu-na-zhou-tu-tang-di-219087","云浦拏舟图","唐棣","唐棣（1296-1364)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。",[23,24,25,29,27,28,36,7,61,33,273,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe43ec4ea318794216335f5e30a3218.jpg","25.6x31.4",[42],{"id":4768,"slug":4769,"title":4770,"dynasty":94,"author":242,"museum":96,"description":4771,"tags":4772,"thumbUrl":4774,"material":748,"size":86,"collection":319,"collections":4775,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},218664,"zhu-quan-xiao-ting-wu-zhen-218664","竹泉小艇","墨韵淋漓间，翠竹苍劲挺拔，枝叶以劲挺之笔写出，墨色浓淡交错，似有清风穿叶而过。泉流隐于山石缝隙，虽未见全貌，却借留白与苔点暗喻潺潺之态。近处小艇泊于岸侧，舟中无人，留白生趣，引人遐想隐士或倚竹听泉，或泛艇寻幽。远处山峦以淡墨皴染，云雾轻笼，尽显江南山水的悠远空寂。整幅画以水墨为骨，诗意入魂，将文人隐逸情怀融于尺幅间，笔意简远却意蕴深长，仿佛能闻竹声泉响，触到那份远离尘嚣的淡然心境，尽显元人山水的空灵与闲适。",[23,24,55,25,37,27,36,29,550,4773,7],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13688cdad196b0705ce407027cb5e838.jpg",[319],{"id":4777,"slug":4778,"title":4779,"dynasty":109,"author":4780,"museum":138,"description":4781,"tags":4782,"thumbUrl":4783,"material":100,"size":4784,"collection":42,"collections":4785,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","王原祁","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,24,215,27,36,29,972,34,33,357,31,7,1052,804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[42],{"id":4787,"slug":4788,"title":4789,"dynasty":153,"author":4790,"museum":3673,"description":4791,"tags":4792,"thumbUrl":4793,"material":100,"size":4794,"collection":262,"collections":4795,"showCount":70,"zanCount":592,"manualWeight":11,"mainColor":71},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,24,25,55,57,28,60,7,29,458,1209,31,63,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[262],{"id":4797,"slug":4798,"title":4799,"dynasty":18,"author":326,"museum":78,"description":2712,"tags":4800,"thumbUrl":4802,"material":359,"size":360,"collection":86,"collections":4803,"showCount":4804,"zanCount":592,"manualWeight":11,"mainColor":46},290846,"lu-ting-xi-ting-zhou-tang-yin-290846","芦汀系艇轴",[24,27,215,29,7,303,4801,37,58,175],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c599288488feb622be66ad18c6dcc4.jpg",[],36,{"id":4806,"slug":4807,"title":4808,"dynasty":94,"author":432,"museum":96,"description":4230,"tags":4809,"thumbUrl":4811,"material":40,"size":4812,"collection":42,"collections":4813,"showCount":4804,"zanCount":11,"manualWeight":11,"mainColor":46},290836,"you-lin-qing-yi-zhou-wang-meng-290836","幽林清逸轴",[55,24,215,27,245,29,84,31,7,141,32,58,37,36,4810],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbc40c15389daa95dc02c8e039dba05.jpg","133.4x47.4",[42],{"id":4815,"slug":4816,"title":284,"dynasty":285,"author":286,"museum":78,"description":4817,"tags":4818,"thumbUrl":4820,"material":359,"size":360,"collection":86,"collections":4821,"showCount":4804,"zanCount":11,"manualWeight":11,"mainColor":46},288280,"xiao-xiang-tu-dong-yuan-288280","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,55,24,26,25,27,28,36,29,1129,7,4819,1220,63,37,38,3814,58,2840],"洲渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],{"id":4823,"slug":4824,"title":4825,"dynasty":153,"author":154,"museum":571,"description":4826,"tags":4827,"thumbUrl":4828,"material":471,"size":4829,"collection":86,"collections":4830,"showCount":4804,"zanCount":11,"manualWeight":11,"mainColor":46},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，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。",[24,25,26,27,36,38,58,29,7,31,32,63,481,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","全卷长达七米",[],{"id":4832,"slug":4833,"title":4834,"dynasty":18,"author":2082,"museum":78,"description":4835,"tags":4836,"thumbUrl":4838,"material":86,"size":86,"collection":86,"collections":4839,"showCount":4804,"zanCount":11,"manualWeight":11,"mainColor":71},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,25,215,27,28,36,29,4837,7,33,272,34,143],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":4841,"slug":4842,"title":4843,"dynasty":18,"author":326,"museum":4844,"description":4845,"tags":4846,"thumbUrl":4849,"material":177,"size":4850,"collection":262,"collections":4851,"showCount":4804,"zanCount":11,"manualWeight":11,"mainColor":46},222361,"jin-chang-song-bie-tu-tang-yin-222361","金昌送别图","吴氏梅景书屋","图绘柳溪水岸边四人拱手作别，即将远去的朋友回头顾盼他的三个朋友，深含依依不舍之情，旁边一樵夫等待离别的人上船，即将扬帆起航。远处群山连绵，云雾霭霭，空旷高远。整幅图以水墨与淡设色相融合，使画面呈现出清雅的格调。",[23,24,26,27,28,29,60,30,31,7,61,4847,1526,143,32,2902,4848],"群山","依依不舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd1421c45dfa306f19591e4f68b6877.jpg","21×132cm",[262,131],{"id":4853,"slug":4854,"title":4855,"dynasty":94,"author":1871,"museum":96,"description":4856,"tags":4857,"thumbUrl":4858,"material":28,"size":4859,"collection":42,"collections":4860,"showCount":4804,"zanCount":450,"manualWeight":11,"mainColor":71},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,24,245,55,215,36,28,29,7,33,34,31,35,357,247,142,3867,1220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 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107公分",[42,131],{"id":4862,"slug":4863,"title":4864,"dynasty":153,"author":200,"museum":78,"description":4865,"tags":4866,"thumbUrl":4867,"material":100,"size":4868,"collection":42,"collections":4869,"showCount":4804,"zanCount":11,"manualWeight":11,"mainColor":71},218650,"qiu-jiang-fan-zhou-tu-yi-ming-218650","秋江泛舟图","绢本纹理间晕开宋时秋意。江畔疏林枯槎，枝干如铁线勾勒萧瑟之态，墨色浓淡藏叶落余韵。江面澄明似镜，一叶扁舟轻泛，舟子隐于烟波，与秋水山色相融。远山层叠，烟霭朦胧，淡墨晕染出悠远天际，将视线引向空濛深处。\n\n整幅画以简洁笔触铺陈清寂秋江，无繁复色彩，却在水墨虚实间传递宋人对自然的敬畏与隐逸情怀。每处留白皆诉时光静美，心境淡然，似能听见江风掠过枯枝的轻响，看见舟楫划过水面的微澜，于无声处藏着宋画独有的淡远与深邃。",[55,24,25,27,36,29,7,174,792,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe52302eecccd7943c473db2995800.jpg","25.5x25.5",[42],{"id":4871,"slug":4872,"title":4873,"dynasty":18,"author":200,"museum":1048,"description":4874,"tags":4875,"thumbUrl":4876,"material":100,"size":4877,"collection":42,"collections":4878,"showCount":4804,"zanCount":11,"manualWeight":11,"mainColor":71},217945,"xue-yu-tu-yi-ming-217945","雪渔图","雪渔图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘的是冬天的江南景色，画面中的渔夫正在雪中捕鱼。图中的景色十分冷清，可以感受到寒冬的气息。不过，画中的渔夫似乎并没有被寒冷所影响，他们依然在坚守着自己的岗位，展现出人类顽强的生存欲望。\n\n雪渔图的艺术价值颇高，它描绘的冬季景色给人们带来了视觉冲击，同时，图中的人物形象也非常生动，给人们留下了深刻的印象。此外，雪渔图的画风也非常优秀，采用了许多细腻的线条和柔和的色彩，使得整幅画面显得十分精致。\n\n雪渔图是明朝时期的杰作，它的出现标志着中国画的又一次发展。作为一幅优秀的艺术品，雪渔图不仅为当时的观众带来了视觉享受，同时也为后人留下了宝贵的文化遗产。",[24,245,215,27,28,36,370,34,174,7,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b782eb11fe10146b4d0bac0e946b2f9.jpg","185x73.4cm",[42],{"id":4880,"slug":4881,"title":4882,"dynasty":18,"author":4437,"museum":188,"description":4883,"tags":4884,"thumbUrl":4886,"material":40,"size":86,"collection":86,"collections":4887,"showCount":4804,"zanCount":11,"manualWeight":11,"mainColor":46},217033,"fang-gu-shan-shui-ce-liu-kai-2-dong-qi-chang-217033","仿古山水册六开-2","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,230,27,28,29,7,31,4885,1791,63,34,143,38,36],"烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705dca76b87e5d6c9999fda035dc601d.jpg",[],{"id":4889,"slug":4890,"title":4891,"dynasty":18,"author":4892,"museum":78,"description":4893,"tags":4894,"thumbUrl":4895,"material":86,"size":86,"collection":42,"collections":4896,"showCount":4897,"zanCount":11,"manualWeight":11,"mainColor":46},236404,"xiao-xiang-ba-jing-ce-wen-jia-236404","潇湘八景册","文嘉","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。”",[24,27,230,29,7,32,84,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[42,68],35,{"id":4899,"slug":4900,"title":4901,"dynasty":109,"author":1302,"museum":138,"description":4902,"tags":4903,"thumbUrl":4904,"material":177,"size":4905,"collection":86,"collections":4906,"showCount":4897,"zanCount":11,"manualWeight":11,"mainColor":46},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,25,215,27,28,36,29,61,31,7,84,32,143,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":4908,"slug":4909,"title":4910,"dynasty":18,"author":170,"museum":78,"description":4911,"tags":4912,"thumbUrl":4913,"material":86,"size":86,"collection":86,"collections":4914,"showCount":4897,"zanCount":592,"manualWeight":11,"mainColor":46},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[24,25,230,28,27,36,29,84,7,216,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],{"id":4916,"slug":4917,"title":4918,"dynasty":153,"author":154,"museum":78,"description":1333,"tags":4919,"thumbUrl":4920,"material":86,"size":86,"collection":86,"collections":4921,"showCount":4897,"zanCount":592,"manualWeight":11,"mainColor":71},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[55,24,25,26,27,36,29,972,246,33,7,247,1420,158,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":4923,"slug":4924,"title":4925,"dynasty":153,"author":916,"museum":78,"description":4926,"tags":4927,"thumbUrl":4928,"material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年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,25,26,29,57,27,36,306,516,33,141,84,31,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":4931,"slug":4932,"title":4933,"dynasty":153,"author":4934,"museum":78,"description":4935,"tags":4936,"thumbUrl":4937,"material":86,"size":86,"collection":86,"collections":4938,"showCount":4897,"zanCount":592,"manualWeight":11,"mainColor":71},227634,"shan-shui-tu-ye-ma-lin-227634","山水图页","马麟","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。”",[23,24,55,28,36,230,29,7,60,84,357,34,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],{"id":4940,"slug":4941,"title":4942,"dynasty":109,"author":2863,"museum":96,"description":4943,"tags":4944,"thumbUrl":4945,"material":588,"size":4946,"collection":42,"collections":4947,"showCount":4897,"zanCount":450,"manualWeight":11,"mainColor":71},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","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。”",[23,24,25,215,28,29,142,143,33,158,246,7,61,30,31,1592,36,191,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[42,68],{"id":4949,"slug":4950,"title":4951,"dynasty":153,"author":3118,"museum":96,"description":4952,"tags":4953,"thumbUrl":4959,"material":128,"size":4960,"collection":162,"collections":4961,"showCount":4897,"zanCount":11,"manualWeight":11,"mainColor":71},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","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，虚处乃为江上水气所迷，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。该图近山浓重，远山清淡，又形成虚实对比。",[23,24,55,215,29,28,61,7,31,3870,4954,4955,769,4956,4957,4958,36],"远渚","山岩","行人","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[162,42,68],{"id":4963,"slug":4964,"title":1248,"dynasty":18,"author":4965,"museum":96,"description":4966,"tags":4967,"thumbUrl":4968,"material":28,"size":4969,"collection":68,"collections":4970,"showCount":4897,"zanCount":11,"manualWeight":11,"mainColor":46},219457,"bu-yu-tu-lu-zhi-219457","陆治","芦滩飞雪白茫茫，\n顶寒冒冻捕鱼忙。\n操舟撒网坐渔罾，\n辛勤劳作鱼满舱。",[24,82,27,7,175,31,60,996,2495,58,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a1b935711c876124aff6736eb6d7d8.jpg","43.3X34.3cm",[68],{"id":4972,"slug":4973,"title":4974,"dynasty":109,"author":648,"museum":78,"description":1207,"tags":4975,"thumbUrl":4976,"material":359,"size":360,"collection":86,"collections":4977,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":46},290539,"fang-hui-chong-jiang-nan-chun-yi-yun-shou-ping-290539","倣惠崇江南春意",[24,25,230,27,29,7,174,31,58,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F994290e0bb3645a7472b9eda594eed35.jpg",[],34,{"id":4980,"slug":4981,"title":2298,"dynasty":94,"author":242,"museum":96,"description":2299,"tags":4982,"thumbUrl":4983,"material":748,"size":2302,"collection":86,"collections":4984,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":71},290135,"qiu-jiang-yu-yin-tu-wu-zhen-290135",[55,24,25,215,27,29,7,1176,34,357,31,35,37,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg",[],{"id":4986,"slug":4987,"title":4988,"dynasty":94,"author":4761,"museum":78,"description":4989,"tags":4990,"thumbUrl":4991,"material":359,"size":360,"collection":86,"collections":4992,"showCount":4978,"zanCount":592,"manualWeight":11,"mainColor":71},290130,"xi-shan-yan-ting-tu-tang-di-290130","溪山烟艇图","溪畔草亭中，一人弹阮，三人聆听著。小径上，僮子送酒而来。溪上，有人敞胸坐于船头，富有野逸消遥的乐趣。坡石用云头皴，圆润稳厚，有着郭熙一派的面目。",[24,25,29,27,36,7,174,141,31,175,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb54d68e70be2e10ae4a88c8cd70dc0.jpg",[],{"id":4994,"slug":4995,"title":4996,"dynasty":153,"author":779,"museum":78,"description":4997,"tags":4998,"thumbUrl":4999,"material":359,"size":360,"collection":86,"collections":5000,"showCount":4978,"zanCount":592,"manualWeight":11,"mainColor":71},288227,"han-jiang-diao-ting-tu-zhuang-biao-li-cheng-288227","寒江钓艇图（装裱）","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[55,24,245,215,27,36,7,216,29,174,34,31,371,397,3915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda17c8d4d4176bfba2ffea8afab0c08a.jpg",[],{"id":5002,"slug":5003,"title":5004,"dynasty":285,"author":3055,"museum":78,"description":3056,"tags":5005,"thumbUrl":5006,"material":359,"size":360,"collection":86,"collections":5007,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":46},287367,"jiang-xing-chu-xue-tu-yuan-tu-zhao-gan-287367","江行初雪图(原图)",[24,55,25,29,31,7,216,175,371,28,57,36,37,1701,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f85e6f1509e6c29923b9c1726de7f4.jpg",[],{"id":5009,"slug":5010,"title":5011,"dynasty":109,"author":648,"museum":78,"description":5012,"tags":5013,"thumbUrl":5014,"material":86,"size":86,"collection":86,"collections":5015,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":46},235683,"ceng-luan-you-xi-zhou-yun-shou-ping-235683","层峦幽溪轴","此作用笔松灵秀逸，以浅绛淡彩晕染山峦林泉，笔墨清简却意致悠长。层峦以淡墨轻勾慢皴，敷色明净素雅，衬出山石温润质感。幽溪蜿蜒穿谷而过，渔舟静泊水面，林麓崖畔错落隐着村舍山居，枝叶扶疏间尽显林下清寂。\n题跋与画作相生相融，以书入画更添文人气韵，将江南山野的幽闲之境铺陈开来，观之如踏入世外幽居，沉浸式感受林泉间安谧隐逸的雅趣，尽显文人山水以意驭笔的空灵格调。",[24,25,215,27,36,29,31,7,32,422,2359,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54ca2ae0ddaf9169d825040fa333bfa.jpg",[],{"id":5017,"slug":5018,"title":5019,"dynasty":94,"author":5020,"museum":138,"description":5021,"tags":5022,"thumbUrl":5023,"material":233,"size":5024,"collection":86,"collections":5025,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":71},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","姚廷美","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[24,27,26,29,661,84,7,175,58,36,305,370,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":5027,"slug":5028,"title":1650,"dynasty":94,"author":607,"museum":138,"description":5029,"tags":5030,"thumbUrl":5031,"material":1284,"size":1655,"collection":86,"collections":5032,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":46},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[24,25,215,27,28,36,57,29,33,7,31,273,158,63,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg",[],{"id":5034,"slug":5035,"title":5036,"dynasty":94,"author":5037,"museum":96,"description":5038,"tags":5039,"thumbUrl":5040,"material":233,"size":5041,"collection":86,"collections":5042,"showCount":4978,"zanCount":592,"manualWeight":11,"mainColor":46},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","管道升","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[24,27,29,550,157,7,329,273,1030,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 57.2x27.5公分；全幅 62公分",[],{"id":5044,"slug":5045,"title":5046,"dynasty":94,"author":5047,"museum":78,"description":5048,"tags":5049,"thumbUrl":5050,"material":86,"size":86,"collection":86,"collections":5051,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":71},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[23,24,25,27,29,7,398,33,31,141,36,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":5053,"slug":5054,"title":5055,"dynasty":18,"author":326,"museum":78,"description":5056,"tags":5057,"thumbUrl":5058,"material":86,"size":86,"collection":86,"collections":5059,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":46},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,25,26,28,36,29,60,574,7,33,142,35,31,562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":5061,"slug":5062,"title":5063,"dynasty":153,"author":744,"museum":78,"description":5064,"tags":5065,"thumbUrl":5066,"material":86,"size":86,"collection":86,"collections":5067,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":71},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,55,24,25,230,27,28,29,7,357,158,31,60,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":5069,"slug":5070,"title":5071,"dynasty":109,"author":5072,"museum":78,"description":5073,"tags":5074,"thumbUrl":5075,"material":276,"size":86,"collection":42,"collections":5076,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":46},222711,"mo-bi-shan-shui-zhong-tang-zheng-min-222711","墨笔山水中堂","郑旼","水墨绘远处山石连绵，中部河道宽广，河面一条船只行驶；近处岸边树木葱郁。技法上，山石以细墨勾皴，再以墨点绘树木绿植，画上有画家自题诗一首。郑旼，字慕倩，号遗娃，善画山水，工诗文，尤工篆刻，新安派画家之一。",[23,24,25,29,215,27,36,306,422,141,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[42,131],{"id":5078,"slug":5079,"title":5080,"dynasty":94,"author":5081,"museum":96,"description":5082,"tags":5083,"thumbUrl":5084,"material":28,"size":5085,"collection":319,"collections":5086,"showCount":4978,"zanCount":592,"manualWeight":11,"mainColor":46},221859,"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[55,24,25,215,27,60,550,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 95.6x51.6公分、诗塘 28.4x51.6公分、全幅 72.3公分",[319,131],{"id":5088,"slug":5089,"title":5090,"dynasty":18,"author":3811,"museum":467,"description":5091,"tags":5092,"thumbUrl":5093,"material":40,"size":5094,"collection":42,"collections":5095,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":46},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[23,24,26,27,114,29,7,30,31,33,34,35,63,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[42],{"id":5097,"slug":5098,"title":5099,"dynasty":18,"author":3980,"museum":20,"description":4354,"tags":5100,"thumbUrl":5101,"material":40,"size":4357,"collection":86,"collections":5102,"showCount":4978,"zanCount":11,"manualWeight":11,"mainColor":46},214673,"san-jue-tu-2-yao-shou-214673","三绝图-2",[24,25,230,27,28,29,36,30,31,7,33,142,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2380dd3ead30497ae3b9b56171da9.jpg",[],{"id":5104,"slug":5105,"title":5106,"dynasty":153,"author":779,"museum":78,"description":5107,"tags":5108,"thumbUrl":5109,"material":359,"size":360,"collection":86,"collections":5110,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":840},290861,"qiu-shan-yu-ting-zhou-li-cheng-290861","秋山渔艇轴","李成（919～967）五代及北宋画家。字咸熙，唐宗室后裔。原籍长安（今陕西西安），先世系唐宗室，祖父李鼎曾任苏州刺史，于五代时避乱迁家营丘（今山东昌乐），故又称李成为李营丘。他博学多才，胸有大志，但不得施展，遂放意诗酒书画，后醉死陈州（今河南淮阳）客舍。擅山水，师承荆浩、关仝，并加以发展，多画郊野平远旷阔之景。多作平远寒林，画法简练，笔势锋利，好用淡墨，有“惜墨如金”之称；画山石好像卷动的云，后人称这种表现技法为“卷云皴”。",[24,215,29,30,31,7,175,32,61,36,1082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95e63285ff12ebf6a02129e321d325.jpg",[],33,{"id":5113,"slug":5114,"title":2991,"dynasty":153,"author":154,"museum":78,"description":1333,"tags":5115,"thumbUrl":5116,"material":359,"size":360,"collection":86,"collections":5117,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":71},290860,"gui-zhao-tu-zhou-xia-gui-290860",[24,55,215,27,29,36,141,84,31,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dda2ad562cec97379a61278376bfa6.jpg",[],{"id":5119,"slug":5120,"title":3065,"dynasty":109,"author":1302,"museum":78,"description":5121,"tags":5122,"thumbUrl":5124,"material":359,"size":360,"collection":86,"collections":5125,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":46},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","髡[kūn]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。",[55,24,215,27,29,30,31,7,61,32,661,84,5123,36,58,37,1082,704],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":5127,"slug":5128,"title":5129,"dynasty":94,"author":813,"museum":78,"description":5130,"tags":5131,"thumbUrl":5132,"material":359,"size":360,"collection":86,"collections":5133,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":46},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）","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。",[23,55,24,215,28,29,60,661,84,7,31,141,175,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":5135,"slug":5136,"title":5137,"dynasty":153,"author":2530,"museum":138,"description":5138,"tags":5139,"thumbUrl":5141,"material":1178,"size":5142,"collection":162,"collections":5143,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":46},289326,"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[23,55,24,26,25,27,28,29,1702,7,5140,38,37],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[162],{"id":5145,"slug":5146,"title":4591,"dynasty":18,"author":2249,"museum":78,"description":5147,"tags":5148,"thumbUrl":5149,"material":86,"size":86,"collection":86,"collections":5150,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":46},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,24,26,27,36,25,29,306,516,84,30,31,7,32,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":5152,"slug":5153,"title":5154,"dynasty":94,"author":513,"museum":138,"description":5155,"tags":5156,"thumbUrl":5157,"material":177,"size":5158,"collection":86,"collections":5159,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":71},233219,"you-ju-tu-juan-qian-xuan-233219","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[24,25,26,56,28,57,36,29,306,516,422,32,30,31,7,60,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg","纵27厘米, 横115.9厘米",[],{"id":5161,"slug":5162,"title":5163,"dynasty":153,"author":200,"museum":78,"description":5164,"tags":5165,"thumbUrl":5166,"material":86,"size":86,"collection":86,"collections":5167,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":46},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[23,24,25,694,27,28,29,36,7,216,34,33,31,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":5169,"slug":5170,"title":5171,"dynasty":18,"author":170,"museum":3515,"description":5172,"tags":5173,"thumbUrl":5174,"material":5175,"size":5176,"collection":86,"collections":5177,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":46},222586,"shan-shui-ren-wu-tu-lan-ying-222586","山水人物图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,27,36,215,29,60,7,357,272,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396b38187718c407d8aa9bcd3330f957.jpg","绢本，水墨","纵151CM 横51CM",[],{"id":5179,"slug":5180,"title":5181,"dynasty":109,"author":1007,"museum":20,"description":5182,"tags":5183,"thumbUrl":5185,"material":233,"size":5186,"collection":86,"collections":5187,"showCount":5111,"zanCount":592,"manualWeight":11,"mainColor":46},219850,"ba-jing-shan-shui-tu-6-gong-xian-219850","八景山水图-6","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,27,36,29,84,5184,7,516],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba7ab842fa8f38fb3b06152c82a4781.jpg","24.4x49.7厘米",[],{"id":5189,"slug":5190,"title":5191,"dynasty":18,"author":1787,"museum":96,"description":5192,"tags":5193,"thumbUrl":5194,"material":748,"size":5195,"collection":42,"collections":5196,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":71},216103,"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[24,25,230,27,28,29,36,7,31,63,32,3963,30,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[42],{"id":5198,"slug":5199,"title":5200,"dynasty":109,"author":5201,"museum":3090,"description":5202,"tags":5203,"thumbUrl":5204,"material":249,"size":86,"collection":86,"collections":5205,"showCount":5111,"zanCount":11,"manualWeight":11,"mainColor":46},214491,"fang-gu-shan-shui-tu-2-cheng-ting-lu-214491","仿古山水图-2","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[23,24,1442,28,29,7,31,60,2866,230,422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5615a13e6125147c6c829aecba1190.jpg",[],{"id":5207,"slug":5208,"title":5209,"dynasty":153,"author":779,"museum":78,"description":4997,"tags":5210,"thumbUrl":5212,"material":359,"size":360,"collection":86,"collections":5213,"showCount":5214,"zanCount":592,"manualWeight":11,"mainColor":71},289457,"gui-yu-tu-li-cheng-289457","归渔图",[694,24,245,28,36,174,504,31,7,371,5211,2840],"归渔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452eb3b75c778a86f0bc37c9d3e801fd.jpg",[],32,{"id":5216,"slug":5217,"title":5218,"dynasty":153,"author":315,"museum":78,"description":5219,"tags":5220,"thumbUrl":5221,"material":359,"size":360,"collection":86,"collections":5222,"showCount":5214,"zanCount":11,"manualWeight":11,"mainColor":71},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。",[24,27,7,60,397,398,1794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed6df7d4209c5b65a13d7a554ad54bc.jpg",[],{"id":5224,"slug":5225,"title":5226,"dynasty":109,"author":500,"museum":78,"description":2150,"tags":5227,"thumbUrl":5229,"material":359,"size":360,"collection":86,"collections":5230,"showCount":5214,"zanCount":11,"manualWeight":11,"mainColor":46},287350,"min-jiang-chun-se-tu-shi-tao-287350","岷江春色图",[23,24,25,245,27,28,36,142,33,446,7,37,38,58,5228],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff493d294fe1e9a424e15c0a58ebbf15b.jpg",[],{"id":5232,"slug":5233,"title":5234,"dynasty":109,"author":3127,"museum":78,"description":5235,"tags":5236,"thumbUrl":5237,"material":86,"size":86,"collection":86,"collections":5238,"showCount":5214,"zanCount":592,"manualWeight":11,"mainColor":71},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[55,24,25,215,28,36,29,306,516,422,816,35,7,174,143,2085,34,1220,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":5240,"slug":5241,"title":5242,"dynasty":109,"author":5243,"museum":138,"description":5244,"tags":5245,"thumbUrl":5246,"material":588,"size":5247,"collection":86,"collections":5248,"showCount":5214,"zanCount":592,"manualWeight":11,"mainColor":71},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,25,26,28,56,57,36,29,59,31,30,7,60,33,143,329,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":5250,"slug":5251,"title":4385,"dynasty":153,"author":154,"museum":138,"description":5252,"tags":5253,"thumbUrl":5255,"material":588,"size":5256,"collection":86,"collections":5257,"showCount":5214,"zanCount":11,"manualWeight":11,"mainColor":71},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[24,55,25,5254,27,28,36,29,357,31,7,303,58],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":5259,"slug":5260,"title":5261,"dynasty":18,"author":2317,"museum":138,"description":5262,"tags":5263,"thumbUrl":5264,"material":5265,"size":5266,"collection":42,"collections":5267,"showCount":5214,"zanCount":11,"manualWeight":11,"mainColor":46},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,230,27,29,34,33,7,2271,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纸本 ，设色","纵22.8cm，横33.2cm",[42,68],{"id":5269,"slug":5270,"title":5271,"dynasty":94,"author":607,"museum":78,"description":5272,"tags":5273,"thumbUrl":5274,"material":86,"size":86,"collection":86,"collections":5275,"showCount":5214,"zanCount":592,"manualWeight":11,"mainColor":71},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,25,28,27,29,7,31,60,357,34,57,1581,3867,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":5277,"slug":5278,"title":5209,"dynasty":153,"author":2356,"museum":3247,"description":5279,"tags":5280,"thumbUrl":5281,"material":128,"size":5282,"collection":86,"collections":5283,"showCount":5214,"zanCount":11,"manualWeight":11,"mainColor":71},221604,"gui-yu-tu-liang-kai-221604","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。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。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,55,24,27,28,29,174,63,175,7,216,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":5285,"slug":5286,"title":5287,"dynasty":18,"author":5288,"museum":96,"description":5289,"tags":5290,"thumbUrl":5292,"material":748,"size":5293,"collection":262,"collections":5294,"showCount":5214,"zanCount":450,"manualWeight":11,"mainColor":71},220446,"yan-bo-bu-yu-tu-zhu-zhan-ji-220446","烟波捕鱼图","朱瞻基","朱瞻基（1398－1435年），明朝第五位皇帝，1425-1435年在位，别称明宣宗、宣德帝，他也是一位能够与宋徽宗媲美的杰出书画家。《烟波捕鱼图 》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[23,24,25,215,27,28,29,7,175,5291,3869],"枯柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[262],{"id":5296,"slug":5297,"title":5298,"dynasty":18,"author":2082,"museum":733,"description":5299,"tags":5300,"thumbUrl":5301,"material":128,"size":5302,"collection":86,"collections":5303,"showCount":5214,"zanCount":11,"manualWeight":11,"mainColor":46},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,26,27,28,36,38,37,58,29,7,33,34,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 75.5",[],{"id":5305,"slug":5306,"title":5307,"dynasty":18,"author":51,"museum":96,"description":5308,"tags":5309,"thumbUrl":5310,"material":249,"size":5311,"collection":131,"collections":5312,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":46},290870,"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,215,27,29,175,7,217,31,216,63,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[131],31,{"id":5315,"slug":5316,"title":5317,"dynasty":109,"author":648,"museum":78,"description":1207,"tags":5318,"thumbUrl":5319,"material":359,"size":360,"collection":86,"collections":5320,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":46},290541,"fang-cao-zhi-bai-shui-cun-yu-le-yun-shou-ping-290541","倣曹知白水村渔乐",[24,230,27,29,175,7,31,2085,33,58,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6edccc8494839cb82742043f1a9a07.jpg",[],{"id":5322,"slug":5323,"title":5324,"dynasty":153,"author":3726,"museum":78,"description":3727,"tags":5325,"thumbUrl":5327,"material":359,"size":360,"collection":86,"collections":5328,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":71},288946,"xiao-xiang-ba-jing-shan-shi-qing-lan-wang-hong-288946","潇湘八景-山市晴岚",[24,26,245,27,7,31,142,3144,33,5326,36],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a8b94010aa0146c8a6e135d48a7ec.jpg",[],{"id":5330,"slug":5331,"title":5332,"dynasty":109,"author":597,"museum":78,"description":5333,"tags":5334,"thumbUrl":5335,"material":359,"size":360,"collection":86,"collections":5336,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":46},288451,"shui-tun-tu-zhu-da-288451","水屯图","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 。明末清初画家，中国画一代宗师。",[23,24,27,245,273,505,84,996,7,58,36,37,1794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9cc6b0b8316ab2fb517885000a51ce.jpg",[],{"id":5338,"slug":5339,"title":5340,"dynasty":18,"author":5341,"museum":78,"description":5342,"tags":5343,"thumbUrl":5344,"material":86,"size":86,"collection":42,"collections":5345,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":71},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[55,24,25,215,27,28,29,60,7,357,34,505,36,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[42],{"id":5347,"slug":5348,"title":5349,"dynasty":109,"author":5072,"museum":78,"description":5350,"tags":5351,"thumbUrl":5352,"material":86,"size":86,"collection":42,"collections":5353,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":46},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,25,215,27,36,29,306,422,7,516,158,174,1399,505,868,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[42,131],{"id":5355,"slug":5356,"title":5357,"dynasty":18,"author":5358,"museum":78,"description":5359,"tags":5360,"thumbUrl":5361,"material":86,"size":86,"collection":86,"collections":5362,"showCount":5313,"zanCount":280,"manualWeight":11,"mainColor":71},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,24,28,29,36,306,422,84,661,516,7,158,950,1579,305,1241,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":5364,"slug":5365,"title":5366,"dynasty":153,"author":315,"museum":78,"description":5367,"tags":5368,"thumbUrl":5369,"material":86,"size":86,"collection":86,"collections":5370,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":71},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[23,24,25,694,28,29,61,357,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":5372,"slug":5373,"title":5374,"dynasty":153,"author":2925,"museum":78,"description":5375,"tags":5376,"thumbUrl":5377,"material":86,"size":86,"collection":86,"collections":5378,"showCount":5313,"zanCount":592,"manualWeight":11,"mainColor":71},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[23,24,25,694,28,29,7,60,422,175,792,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":5380,"slug":5381,"title":5382,"dynasty":109,"author":500,"museum":78,"description":5383,"tags":5384,"thumbUrl":5385,"material":86,"size":86,"collection":86,"collections":5386,"showCount":5313,"zanCount":592,"manualWeight":11,"mainColor":46},224517,"shan-shui-tu-ce-8-kai-5-shi-tao-224517","山水图册8开-5","此作用笔松秀灵动，以淡墨勾勒皴擦近坡顽石，苍润朴厚，浅滩留白暗合流泉婉转之姿，石畔杂草萧疏，野意自生。湖面空阔明净，一扁舟轻泛其上，渔翁独钓，寥寥数笔写尽江湖散淡之趣。\n\n右上角题字朴拙率意，与画境浑然相融，尽显诗书画合一的文人雅趣。整幅简淡幽远，以简驭繁，将天地清寂与隐逸襟怀融为一体，淡墨轻岚间漾着萧散空寂之美，观之便觉湖风拂面，恍若身临幽旷水滨，静赏江湖闲逸之境。",[23,24,25,230,27,36,29,7,141,2559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1a75acc650de321142f50190900d8.jpg",[],{"id":5388,"slug":5389,"title":5390,"dynasty":109,"author":1350,"museum":78,"description":5391,"tags":5392,"thumbUrl":5393,"material":86,"size":86,"collection":86,"collections":5394,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":71},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,55,24,25,26,28,29,81,36,31,7,33,63,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":5396,"slug":5397,"title":5398,"dynasty":18,"author":558,"museum":96,"description":5399,"tags":5400,"thumbUrl":5401,"material":748,"size":5402,"collection":42,"collections":5403,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":71},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[23,24,215,29,36,28,30,31,7,34,33,60,574,84,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[42,131],{"id":5405,"slug":5406,"title":5407,"dynasty":94,"author":432,"museum":96,"description":4139,"tags":5408,"thumbUrl":5409,"material":249,"size":806,"collection":86,"collections":5410,"showCount":5313,"zanCount":11,"manualWeight":11,"mainColor":71},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)",[23,24,55,25,215,27,29,36,7,31,34,33,2868,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg",[],{"id":5412,"slug":5413,"title":5414,"dynasty":109,"author":1406,"museum":138,"description":4054,"tags":5415,"thumbUrl":4056,"material":40,"size":4057,"collection":42,"collections":5417,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":46},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图",[23,55,24,25,26,29,27,36,142,33,31,7,63,446,995,38,58,5416],"晴霭",[42],30,{"id":5420,"slug":5421,"title":5422,"dynasty":94,"author":5423,"museum":78,"description":5424,"tags":5425,"thumbUrl":5427,"material":359,"size":360,"collection":86,"collections":5428,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":71},289557,"qiu-lin-chui-diao-tu-zhu-ze-min-289557","秋林垂钓图","朱泽民","此作用边角构图，将虬曲苍劲的秋林置于右畔，枯枝干皴擦点染兼用，残叶附枝尽显清秋萧索，古木盘根错节，苍浑老辣尽显笔墨力道。左侧湖面留白虚旷，一叶扁舟静浮其上，渔人垂竿独钓，身影简淡幽寂。淡墨晕开烟水空蒙，虚实相映间铺展出清远荒寒的意境。\n\n画面题诗与景致互为生发，暗合文人隐逸寄怀的意趣，以简淡笔墨写尽萧散闲远之致，将避世丘壑、寄情烟水的心境藏在荒疏秋景中，尽显元画尚意之风，淡远空灵间余韵悠长。",[24,694,27,29,7,673,5426,174,175,216],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52156813f428828135eb7b9e71828e15.jpg",[],{"id":5430,"slug":5431,"title":1321,"dynasty":153,"author":1322,"museum":78,"description":5432,"tags":5433,"thumbUrl":5435,"material":359,"size":360,"collection":86,"collections":5436,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":46},289380,"dong-po-chi-bi-tu-wang-shen-289380","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[24,694,27,29,7,84,1093,60,5434,2840,36],"赤壁夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d6877a997956ae6ffceae87c8d7908.jpg",[],{"id":5438,"slug":5439,"title":5440,"dynasty":109,"author":3127,"museum":78,"description":5441,"tags":5442,"thumbUrl":5443,"material":359,"size":360,"collection":86,"collections":5444,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":71},288447,"jiang-xing-tu-gao-cen-288447","江行图","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,24,29,27,28,36,174,34,792,7,504,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],{"id":5446,"slug":5447,"title":5448,"dynasty":109,"author":5449,"museum":78,"description":5450,"tags":5451,"thumbUrl":5453,"material":359,"size":360,"collection":86,"collections":5454,"showCount":5418,"zanCount":592,"manualWeight":11,"mainColor":46},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","董邦达","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,55,24,25,26,245,28,29,3832,142,143,33,30,1052,61,5452,2085,63,7,37,58],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":5456,"slug":5457,"title":5458,"dynasty":18,"author":5459,"museum":78,"description":5460,"tags":5461,"thumbUrl":5462,"material":86,"size":86,"collection":42,"collections":5463,"showCount":5418,"zanCount":592,"manualWeight":11,"mainColor":71},238275,"yu-le-tu-zhou-zhang-ling-238275","渔乐图轴","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,25,215,27,36,60,7,31,1526,34,175,29,33,771,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[42,131],{"id":5465,"slug":5466,"title":5467,"dynasty":18,"author":5468,"museum":78,"description":5469,"tags":5470,"thumbUrl":5476,"material":86,"size":86,"collection":86,"collections":5477,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":46},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","赵左","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,215,245,28,27,289,57,114,7,673,435,33,996,34,5471,273,5472,5473,5474,5475],"湖水","文人","读书","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":5479,"slug":5480,"title":5481,"dynasty":18,"author":5482,"museum":138,"description":5483,"tags":5484,"thumbUrl":5485,"material":177,"size":86,"collection":86,"collections":5486,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":46},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,26,27,28,29,36,38,37,5426,34,33,31,30,32,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":5488,"slug":5489,"title":5490,"dynasty":18,"author":4965,"museum":733,"description":5491,"tags":5492,"thumbUrl":5493,"material":86,"size":86,"collection":86,"collections":5494,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":46},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,24,25,26,28,36,38,58,29,33,246,7,273,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":5496,"slug":5497,"title":5498,"dynasty":153,"author":4210,"museum":78,"description":5499,"tags":5500,"thumbUrl":5501,"material":86,"size":86,"collection":86,"collections":5502,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":71},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,55,24,25,56,28,57,29,60,7,31,33,63,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":5504,"slug":5505,"title":5506,"dynasty":109,"author":500,"museum":78,"description":5507,"tags":5508,"thumbUrl":5509,"material":86,"size":86,"collection":86,"collections":5510,"showCount":5418,"zanCount":592,"manualWeight":11,"mainColor":46},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[23,24,27,28,36,230,58,38,29,7,60,63,141,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":5512,"slug":5513,"title":5514,"dynasty":109,"author":4780,"museum":78,"description":5515,"tags":5516,"thumbUrl":5517,"material":86,"size":86,"collection":86,"collections":5518,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":46},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,55,24,25,26,29,28,36,142,33,35,7,31,32,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":5520,"slug":5521,"title":5522,"dynasty":153,"author":200,"museum":188,"description":5523,"tags":5524,"thumbUrl":5525,"material":100,"size":86,"collection":42,"collections":5526,"showCount":5418,"zanCount":592,"manualWeight":11,"mainColor":71},218595,"ye-zhou-heng-du-tu-yi-ming-218595","野舟横渡图","河道上长满了树木和茅草屋，河中停泊着两艘中型单桅帆船，下层是客舱，上层是货物，这是从南宋到元朝初期江南地区普遍使用的。",[55,24,25,694,28,36,29,7,31,84,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec54b00cf7d69cffe6cbb08e458f926.jpg",[42],{"id":5528,"slug":5529,"title":5530,"dynasty":5531,"author":5532,"museum":20,"description":5533,"tags":5534,"thumbUrl":10,"material":86,"size":86,"collection":42,"collections":5535,"showCount":5418,"zanCount":11,"manualWeight":11,"mainColor":5536},202821,"she-se-shan-shui-tu-zhou-pu-jin-202821","设色山水图轴","近代","溥伒","画面以淡墨设色晕染山水，皴擦结合勾勒嶙峋山石肌理，苍劲松枝斜倚崖边，添几分清逸。山间隐现亭台藏幽居之趣，山下流水潺潺，一叶孤舟泛江，舟中人物闲适尽显渔乐之境。远景云雾轻笼，山峦层叠渐淡，营造悠远空濛意境。笔墨兼具传统文人画雅致与自然生机，淡彩晕染柔和，山石厚重与流水灵动形成对比，整体格调清旷淡远，引人入胜。",[24,28,29,7,36,175,32,357,31,34,23],[42],"c1bfb3",{"id":5538,"slug":5539,"title":5540,"dynasty":94,"author":432,"museum":96,"description":4230,"tags":5541,"thumbUrl":5543,"material":249,"size":806,"collection":86,"collections":5544,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":71},290416,"hua-xi-yu-yin-zhou-wang-meng-290416","花溪渔隐轴",[55,24,25,215,27,29,36,31,7,1220,704,175,37,58,5542],"溪涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5204529040d8f0ef17bf6db6a77301ce.jpg",[],29,{"id":5547,"slug":5548,"title":5549,"dynasty":153,"author":5550,"museum":78,"description":5551,"tags":5552,"thumbUrl":5554,"material":359,"size":360,"collection":86,"collections":5555,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":71},288837,"song-shan-xing-lv-tu-li-shan-288837","松杉行旅图","李山","李山(约1121一约1202),金代画家,平阳(今山西临汾)人,擅山水,史载,他每于屋壁喜作大树、奇石,且用笔精良,用墨淡雅。章宗泰和(1201--1208)间入直秘书监,年近八秩而精力不衰。",[23,24,55,27,245,36,816,5553,30,31,7,34,562],"杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfd14a467465a32a96ff4d32c96eb96.jpg",[],{"id":5557,"slug":5558,"title":2935,"dynasty":153,"author":525,"museum":78,"description":5559,"tags":5560,"thumbUrl":5561,"material":359,"size":360,"collection":86,"collections":5562,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":46},288729,"yuan-pu-gui-fan-tu-mu-xi-288729","法常，南宋画家。僧，号牧溪，蜀（今四川）人，生卒年不详，其艺术活动主要约在13世纪60－80年代之际。薜居下（乾德初兵部侍郎）之后，宣和间在长沙出家，南宋理宗、度宗时为临安（今杭州）长庆寺僧，与日僧圆尔辨圆（1202—1280）同为径山无准禅师（1178—1249）之法嗣。性英爽，嗜酒。正义爱国，敢于语伤奸相贾似道，遭追捕后，避祸于绍兴丘氏家。至元朝，在天台山万年寺圆寂。法常既是位佛教阐扬者，又是位天才画家。工山水、佛像、人物、龙虎、猿鹤、禽鸟、树石、芦雁等，皆能随笔写成，极有生决心书，墨法蕴藉，幽淡含蓄，形简神完，回味无穷。他继承发扬了石恪、梁楷之水墨简笔法，对沈周、徐渭、八大、“扬州八怪”等均有影响。虽在生时受冷遇，却开后世文士禅僧墨戏之先河，并对日本水墨画之发展产生巨大影响，被誉为“日本画道之大恩人”。",[23,55,24,25,26,27,29,7,84,2940,3144,5326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72a6c21acecbf019c1048b0e1f9f786.jpg",[],{"id":5564,"slug":5565,"title":5566,"dynasty":153,"author":969,"museum":96,"description":5567,"tags":5568,"thumbUrl":5569,"material":249,"size":974,"collection":86,"collections":5570,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":46},288510,"xi-shan-qiu-se-tu-zhao-ji-288510","溪山秋色图","图中描绘的烟岚雾气迷漫，群峰隐现其间，溪水曲环，江面空阔，渔民捕捞，舟船停泊，秋叶杂树点缀在山头坡岸，完全是一派江湖渔乐的景象。画法上用笔潇洒，点染苍润，是当时画院中的另一种风格。全图中天空留白很大，用鸟瞰法取景，表现出无限辽阔深远的意境。",[55,24,245,27,29,143,33,157,7,1082,58,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78fc1823a0c76aefdc06a6fe20acc6e1.jpg",[],{"id":5572,"slug":5573,"title":5574,"dynasty":109,"author":5575,"museum":78,"description":5576,"tags":5577,"thumbUrl":5579,"material":86,"size":86,"collection":86,"collections":5580,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":46},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","溥儒","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[23,24,27,82,28,29,1526,7,31,60,34,175,33,575,1686,5578],"淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg",[],{"id":5582,"slug":5583,"title":5584,"dynasty":153,"author":200,"museum":78,"description":5585,"tags":5586,"thumbUrl":5587,"material":86,"size":86,"collection":86,"collections":5588,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":71},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[55,24,25,694,28,27,29,174,34,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":5590,"slug":5591,"title":4043,"dynasty":153,"author":744,"museum":78,"description":5592,"tags":5593,"thumbUrl":5596,"material":86,"size":86,"collection":86,"collections":5597,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":71},227770,"dai-du-tu-ye-li-tang-227770","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,55,28,36,29,7,60,84,34,5594,5595,33,1687,143],"渡头","岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],{"id":5599,"slug":5600,"title":5601,"dynasty":153,"author":744,"museum":78,"description":5592,"tags":5602,"thumbUrl":5605,"material":86,"size":86,"collection":86,"collections":5606,"showCount":5545,"zanCount":592,"manualWeight":11,"mainColor":71},227768,"shan-shui-ye-li-tang-227768","山水页",[23,24,25,55,27,36,5254,29,61,7,33,34,600,771,2868,273,5603,5604,174,769],"近景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":5608,"slug":5609,"title":5610,"dynasty":18,"author":4965,"museum":96,"description":5611,"tags":5612,"thumbUrl":5613,"material":276,"size":5614,"collection":319,"collections":5615,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":46},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,25,215,28,29,30,31,7,174,34,272,63,32,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[319,68],{"id":5617,"slug":5618,"title":5619,"dynasty":18,"author":5620,"museum":96,"description":5621,"tags":5622,"thumbUrl":5624,"material":100,"size":86,"collection":42,"collections":5625,"showCount":5545,"zanCount":11,"manualWeight":11,"mainColor":46},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱谷","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,25,230,27,28,30,31,7,35,33,29,58,2085,2868,575,247,273,5623],"城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[42],{"id":5627,"slug":5628,"title":2575,"dynasty":153,"author":200,"museum":78,"description":5629,"tags":5630,"thumbUrl":5632,"material":359,"size":360,"collection":86,"collections":5633,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":71},289782,"xi-shan-chun-xiao-tu-yi-ming-289782","平远视角铺展出江南早春的缱绻景致，淡墨晕染山峦，烟岚轻笼起伏丘壑，晕开朦胧温润的春日底色。坡岸桃枝缀着浅绯新花，杂木抽芽，深浅绿意与粉红花色交织，漫开融融春意。\n\n溪湾回环，水面空明如镜，三两渔舟泛波，艄公悠然摇橹，野舍错落藏于林麓间，溪桥横陈连通幽境。笔墨秀雅清润，水墨间施淡彩，轻重相宜地勾勒出春日山水的柔婉生机，将江南乡野的静谧恬美尽数铺陈，把春风拂过溪山的温柔瞬间定格绢素，尽显平和悠远的山水雅意。",[23,55,24,26,28,29,36,142,33,59,31,7,30,5631,561,3311],"农舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc064e439aeef992d464680650ec944d9.jpg",[],{"id":5635,"slug":5636,"title":5637,"dynasty":109,"author":5638,"museum":78,"description":5639,"tags":5640,"thumbUrl":5644,"material":86,"size":86,"collection":42,"collections":5645,"showCount":133,"zanCount":592,"manualWeight":11,"mainColor":46},238321,"wan-hu-sang-ma-tu-xiao-juan-dong-gao-238321","万户桑麻图小卷","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,26,245,28,36,29,246,7,2085,2679,5641,33,272,60,5642,5643],"农田","田园生活","农桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7ae20c02be229020dc6a8b099325b6.jpg",[42,68],{"id":5647,"slug":5648,"title":245,"dynasty":109,"author":5649,"museum":138,"description":5650,"tags":5651,"thumbUrl":5652,"material":233,"size":86,"collection":86,"collections":5653,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},234115,"shan-shui-hua-wang-san-xi-234115","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[24,25,26,28,36,27,29,143,34,33,1129,7,61,273,1051,2085,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":5655,"slug":5656,"title":5657,"dynasty":109,"author":1302,"museum":138,"description":5658,"tags":5659,"thumbUrl":5660,"material":233,"size":5661,"collection":86,"collections":5662,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[24,25,215,27,36,58,38,29,30,31,7,32,63,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":5664,"slug":5665,"title":5666,"dynasty":18,"author":5667,"museum":138,"description":5668,"tags":5669,"thumbUrl":5670,"material":3094,"size":5671,"collection":86,"collections":5672,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},233473,"ren-wu-hua-hui-ce-xu-wei-233473","人物花卉册","徐渭","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,27,230,114,60,7,999,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f4e85145f2771a2c5af092a652fd77.jpg","纵26.9厘米 横38.3厘米",[],{"id":5674,"slug":5675,"title":4014,"dynasty":109,"author":5676,"museum":78,"description":5677,"tags":5678,"thumbUrl":5679,"material":86,"size":86,"collection":86,"collections":5680,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":5681},230116,"shan-shui-ce-12-kai-jian-jiang-230116","渐江","此作以大片留白晕染出空濛烟水，淡墨轻勾远山，嶙峋清癯的峰峦错落排布，简淡皴笔勾勒山石肌理，尽显冷峭疏朗之态。左下角老柳垂丝，依依拂岸，茅舍隐于柳下，愈衬江天寥廓。\n\n江上孤舟缓行，渔翁泛棹，寥寥数笔便点活了空寂水色，于极简中藏着幽远禅意。整幅画笔墨枯淡清逸，舍去繁复描摹，以简驭繁，将水畔的静穆冷逸尽数铺展，萧散淡远，观之如沐清寂江风，引人沉入这份疏旷安闲的烟水诗意中。",[24,25,230,27,36,29,7,174,34,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b9046f9518a01dd6d6ff08f98e4f8d.jpg",[],"FFFFFF",{"id":5683,"slug":5684,"title":5685,"dynasty":94,"author":2093,"museum":78,"description":5686,"tags":5687,"thumbUrl":5688,"material":86,"size":86,"collection":86,"collections":5689,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},228072,"teng-wang-ge-tu-ye-xia-yong-228072","滕王阁图页","此作以铁线白描界画楼宇，依山临江的名楼层叠错落，飞檐翘角、榫卯结构皆毫厘毕现，廊庑间人物往来顾盼，鲜活灵动，将楼阁巍峨工致描摹入微。\n\n江面上扁舟随波浮沉，远山澹澹晕开，简淡山水与精工楼宇相映，在尺幅之中铺展出宏阔雅致的胜景。整幅工细却不板滞，白描线条劲挺匀净，既复刻出名楼的壮伟形制，又晕染出江南水畔的清灵意韵，将登临名楼的雅致意趣凝于方寸之间，尽显界画的极致工巧，藏着对江南胜景的隽永追慕。",[23,24,55,229,230,82,27,61,29,7,422,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a4378908f12da247e608b1311e041d.jpg",[],{"id":5691,"slug":5692,"title":5693,"dynasty":109,"author":500,"museum":78,"description":5694,"tags":5695,"thumbUrl":5696,"material":86,"size":86,"collection":86,"collections":5697,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,24,25,230,27,28,29,7,31,142,33,1506,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":5699,"slug":5700,"title":5701,"dynasty":109,"author":5676,"museum":78,"description":5702,"tags":5703,"thumbUrl":5704,"material":86,"size":86,"collection":86,"collections":5705,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,25,26,27,28,36,81,58,37,29,61,33,357,174,31,7,32,2085,231,273,1051,2868,30,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":5707,"slug":5708,"title":5709,"dynasty":18,"author":326,"museum":138,"description":5710,"tags":5711,"thumbUrl":5723,"material":5724,"size":5725,"collection":849,"collections":5726,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,5712,37,38,26,27,58,303,481,29,7,30,31,32,63,661,84,1209,5713,550,1543,3999,5714,59,5715,2495,1838,5716,370,880,5717,5718,5719,5720,5721,5722],"明代","兰","牡丹","水仙","雨","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[849],{"id":5728,"slug":5729,"title":5730,"dynasty":94,"author":5731,"museum":96,"description":5732,"tags":5733,"thumbUrl":5734,"material":28,"size":5735,"collection":42,"collections":5736,"showCount":133,"zanCount":592,"manualWeight":11,"mainColor":71},221847,"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","刘贯道","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[23,24,245,215,27,36,2407,34,174,61,972,35,4577,7,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[42,131],{"id":5738,"slug":5739,"title":5740,"dynasty":153,"author":691,"museum":96,"description":5741,"tags":5742,"thumbUrl":5743,"material":5744,"size":5745,"collection":86,"collections":5746,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,24,55,25,230,29,36,27,60,7,216,84,31,370,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":5748,"slug":5749,"title":5750,"dynasty":18,"author":326,"museum":467,"description":5751,"tags":5752,"thumbUrl":5753,"material":249,"size":5754,"collection":42,"collections":5755,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,25,26,27,38,37,58,36,29,33,31,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[42],{"id":5757,"slug":5758,"title":5759,"dynasty":18,"author":5760,"museum":3090,"description":5761,"tags":5762,"thumbUrl":5763,"material":249,"size":5764,"collection":42,"collections":5765,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":182},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","沈士充","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[23,24,245,81,27,36,34,33,1052,35,143,7,31,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[42],{"id":5767,"slug":5768,"title":5769,"dynasty":153,"author":200,"museum":5770,"description":5771,"tags":5772,"thumbUrl":373,"material":100,"size":5773,"collection":42,"collections":5774,"showCount":133,"zanCount":592,"manualWeight":11,"mainColor":71},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,24,26,28,245,36,2407,306,516,174,357,63,7,158,35,58],"纵28.8厘米，横449.3厘米",[42],{"id":5776,"slug":5777,"title":5778,"dynasty":153,"author":3246,"museum":96,"description":5779,"tags":5780,"thumbUrl":5781,"material":249,"size":5782,"collection":86,"collections":5783,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},218503,"gui-qu-lai-ci-juan-2-li-gong-lin-218503","归去来辞卷-2","画面以白描勾勒归隐行舟之景，墨线如行云流水，于极简处见真章。船身轻捷，篷布纹理隐现，衣袂飘举间人物情态毕肖：舟中高士凭舷远眺，眉宇舒展似含释然；舟子撑篙划桨，动作从容如伴清风。水面微波淡扫，衬出船行的悠然。整幅画不着色彩，却以线条粗细疾缓传递《归去来辞》的超脱意韵——天地清旷，心向田园，每道笔触都浸透着归隐的闲适自在。观者仿佛随舟而行，闻桨声欸乃，见衣袂翻飞，于淡墨轻痕中触摸那份遗世独立的淡然心境。",[55,24,25,26,82,60,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecadbdbdb99b8cbda50307e6ef1e4b3e.jpg","34x898.8",[],{"id":5785,"slug":5786,"title":5787,"dynasty":109,"author":1350,"museum":188,"description":5788,"tags":5789,"thumbUrl":5790,"material":40,"size":86,"collection":86,"collections":5791,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},214591,"fang-gu-shan-shui-ce-13-wang-hui-214591","仿古山水册-13","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,25,230,28,36,1442,29,303,880,422,31,1107,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f501390a2a4e60586411f7d7211255.jpg",[],{"id":5793,"slug":5794,"title":5795,"dynasty":109,"author":1007,"museum":78,"description":5796,"tags":5797,"thumbUrl":5801,"material":359,"size":360,"collection":86,"collections":5802,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},290393,"xia-jing-shan-shui-tu-gong-xian-290393","夏景山水图","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[23,24,27,29,30,31,7,5798,33,5799,58,5800,36],"茅舍","苇草","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a821ec2e8c22386cf40018ec9410fcb.jpg",[],27,{"id":5805,"slug":5806,"title":5807,"dynasty":109,"author":1350,"museum":78,"description":5808,"tags":5809,"thumbUrl":5810,"material":359,"size":360,"collection":86,"collections":5811,"showCount":5803,"zanCount":592,"manualWeight":11,"mainColor":71},287930,"fang-ju-ran-shan-shui-wang-hui-287930","仿巨然山水","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。”",[23,24,55,29,215,81,61,31,7,174,36,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2aae287d4fd8b90080a1dfb35dd9ea.jpg",[],{"id":5813,"slug":5814,"title":5815,"dynasty":94,"author":3329,"museum":96,"description":5816,"tags":5817,"thumbUrl":5818,"material":100,"size":5819,"collection":86,"collections":5820,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":71},287597,"xue-xi-gui-zhao-zhou-zhu-de-run-287597","雪溪归棹轴","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[24,29,215,371,7,30,31,174,34,446,36,2840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90726182919826caa58237122e329861.jpg","144.9x85.2",[],{"id":5822,"slug":5823,"title":3643,"dynasty":153,"author":2530,"museum":78,"description":5824,"tags":5825,"thumbUrl":5827,"material":359,"size":360,"collection":86,"collections":5828,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},285065,"yue-ye-kan-chao-tu-li-song-285065","该画作描绘了宋时临安（今浙江杭州）中秋夜观海潮的情形，是一幅情景精致的杰作。",[23,694,24,55,229,28,61,7,3646,29,5826,174,58],"月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12505dfe1c558e14579ad3df9e7fede5.jpg",[],{"id":5830,"slug":5831,"title":2750,"dynasty":109,"author":1350,"museum":78,"description":5832,"tags":5833,"thumbUrl":5834,"material":86,"size":86,"collection":42,"collections":5835,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":182},239461,"shan-shui-tu-zhou-wang-hui-239461","杨晋（1644-1728）字子和，一字子鹤，号西亭，又号谷林樵客、野鹤、鹤道人、水村、志学老人、雪阁移梅人、虞山野老、虞山樵子，江苏常熟人。清代画家。山水为王翚入室弟子，尝与绘《圣祖南巡图》颇精。晚年每多率笔，然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。",[24,25,215,27,28,36,29,4576,371,174,7,60,246,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6230cfa27d9d301082f367ba228509.jpg",[42],{"id":5837,"slug":5838,"title":5839,"dynasty":109,"author":2695,"museum":78,"description":5840,"tags":5841,"thumbUrl":5842,"material":86,"size":86,"collection":42,"collections":5843,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":182},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,26,27,29,36,7,58,33,34,143,246,61,1592,357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[42,131],{"id":5845,"slug":5846,"title":5847,"dynasty":109,"author":5848,"museum":78,"description":5849,"tags":5850,"thumbUrl":5851,"material":86,"size":86,"collection":42,"collections":5852,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,25,230,28,229,29,61,33,7,1130,58,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[42,68],{"id":5854,"slug":5855,"title":5856,"dynasty":18,"author":4892,"museum":78,"description":5857,"tags":5858,"thumbUrl":5859,"material":233,"size":86,"collection":849,"collections":5860,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n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。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”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。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”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。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[24,25,215,27,29,36,37,58,38,422,34,7,31,273,5595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[849],{"id":5862,"slug":5863,"title":5864,"dynasty":18,"author":4627,"museum":78,"description":5865,"tags":5866,"thumbUrl":5867,"material":86,"size":86,"collection":86,"collections":5868,"showCount":5803,"zanCount":592,"manualWeight":11,"mainColor":71},235853,"dian-nan-jin-sha-jiang-jing-zhou-huang-xiang-jian-235853","滇南金沙江景轴","此作用高远、深远构图铺展峡谷盛景，以披麻皴晕染山石肌理，苍厚朴拙的笔力勾勒出两岸层叠峰峦。崖间古松错落虬劲，金沙江蜿蜒穿谷，江面上轻舟随波缓行，山脚佛塔古寺隐于林麓，野意盎然。\n\n淡墨晕开江雾空濛，将滇南山河的荒寒奇秀尽藏毫端，搭配题诗将纪游的真切感触融于山水间，既绘就西南山川的雄阔幽寂，也以笔墨寄放行旅途中对山河的体察，是纪游山水中兼具纪实性与抒情性的佳构。",[24,215,27,36,29,31,7,32,141,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff430ba9b406814fba1294612a5fa22cd.jpg",[],{"id":5870,"slug":5871,"title":5872,"dynasty":18,"author":5873,"museum":78,"description":5874,"tags":5875,"thumbUrl":5877,"material":359,"size":360,"collection":86,"collections":5878,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},234835,"fang-gu-kai-zhi-qing-shan-bai-yun-shan-gu-ning-yuan-234835","仿顾恺之青山白云扇","顾凝远","顾凝远（1580? —1645后），号青霞。吴郡（今江苏苏州）人。为人好学，于古今坟典艺志无所不窥，喜蓄商周秦汉文物。画山水师董、巨、又出入荆、关，兼精画理。",[24,25,694,56,28,81,29,7,60,5876,422,141,31],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11fd43f6398ebbe444dac28d65fc0fd.jpg",[],{"id":5880,"slug":5881,"title":5882,"dynasty":109,"author":500,"museum":5883,"description":5884,"tags":5885,"thumbUrl":5886,"material":2231,"size":5887,"collection":86,"collections":5888,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},224524,"shan-shui-tu-ce-8-kai-8-zhang-da-qian-jiu-cang-shi-tao-224524","山水图册8开-8-张大千旧藏","张大千先生的旧藏","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，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《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,24,27,36,230,25,58,38,29,7,996,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e46120bfc311a87046dd8a2c51cf479.jpg","14.9x27.3cm",[],{"id":5890,"slug":5891,"title":5892,"dynasty":109,"author":500,"museum":78,"description":5893,"tags":5894,"thumbUrl":5895,"material":86,"size":86,"collection":86,"collections":5896,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},224507,"shan-shui-ce-kai-shi-er-shi-tao-224507","山水冊开(十二)","此作用笔灵动苍润，以高远、平远之法铺展丘壑。远处群峰以淡赭浅墨晕染，峰峦层叠间氤氲着空濛清气，似含朝烟暮霭。近景顽石以浓墨勾皴，朴拙厚重，与远山的虚淡相映成趣。留白作水，扁舟渔父悄然行于烟波，林间墨点为木，寥寥数笔便点染出幽寂野趣。\n\n题画诗与山水浑然相融，将山河野旷间的放逸襟怀娓娓道来，寄寓着纵浪天地、栖心林泉的隐逸之思。笔墨干湿浓淡相生，以简驭繁，萧散淡远中尽显清逸灵秀的意韵，将天地山水间的自在之境铺陈开来，余韵悠长。",[23,24,25,230,27,28,36,58,29,7,34,33,600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921716ec4a10b4154f9394b12795127a.jpg",[],{"id":5898,"slug":5899,"title":5900,"dynasty":109,"author":4780,"museum":78,"description":5901,"tags":5902,"thumbUrl":5903,"material":86,"size":86,"collection":86,"collections":5904,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","辋川图卷","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[23,24,26,28,27,29,36,30,31,7,32,61,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":5906,"slug":5907,"title":1387,"dynasty":18,"author":170,"museum":96,"description":5172,"tags":5908,"thumbUrl":5909,"material":128,"size":86,"collection":42,"collections":5910,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":71},222592,"hua-xue-jing-zhou-lan-ying-222592",[23,24,215,28,29,36,371,30,31,7,32,174,34,35,60,816],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[42,131],{"id":5912,"slug":5913,"title":5914,"dynasty":109,"author":1350,"museum":78,"description":1351,"tags":5915,"thumbUrl":5918,"material":40,"size":1355,"collection":86,"collections":5919,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[23,24,25,5916,28,27,36,29,30,31,7,33,34,446,246,5917],"摹古","山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg",[],{"id":5921,"slug":5922,"title":5923,"dynasty":109,"author":1007,"museum":20,"description":5182,"tags":5924,"thumbUrl":5925,"material":233,"size":5186,"collection":86,"collections":5926,"showCount":5803,"zanCount":11,"manualWeight":11,"mainColor":46},219853,"ba-jing-shan-shui-tu-4-gong-xian-219853","八景山水图-4",[24,27,36,230,29,33,329,7,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd597d6542b9862b226d5d90a4607334.jpg",[],{"id":5928,"slug":5929,"title":5930,"dynasty":109,"author":1302,"museum":78,"description":5121,"tags":5931,"thumbUrl":5934,"material":359,"size":360,"collection":86,"collections":5935,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":46},289932,"chan-ji-hua-qu-tu-zhou-kun-can-289932","禅机画趣图轴",[24,25,215,27,36,29,30,31,7,35,33,5932,5933,58,37],"宗教","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a847df0604c75424825b87a32147592.jpg",[],{"id":5937,"slug":5938,"title":5939,"dynasty":153,"author":2356,"museum":78,"description":4241,"tags":5940,"thumbUrl":5943,"material":359,"size":360,"collection":86,"collections":5944,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":46},289373,"ze-pan-xing-yin-tu-liang-kai-289373","泽畔行吟图",[694,24,27,29,7,60,1794,5941,3833,5942],"行吟","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0eebe565286429967e39cefabcf52c2.jpg",[],{"id":5946,"slug":5947,"title":5948,"dynasty":94,"author":5949,"museum":96,"description":5950,"tags":5951,"thumbUrl":5952,"material":40,"size":5953,"collection":42,"collections":5954,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":46},287533,"lin-luan-yan-yu-tu-gao-ke-gong-287533","林峦烟雨图","高克恭","此幅画溪边小景，云气濛濛，舟子身著蓑衣正欲撑舟泊岸，溯溪而上，有茅屋三椽，远山罩于雨雾中。整幅用笔布墨甚为含蓄蕴藉，画风近于明。",[24,55,25,215,29,27,36,3961,142,33,35,31,30,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8049e60ff73a9aa2f45d978e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。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[24,25,215,28,29,81,7,84,35,33,575,34,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":5973,"slug":5974,"title":5975,"dynasty":109,"author":1350,"museum":269,"description":5976,"tags":5977,"thumbUrl":5979,"material":3094,"size":5980,"collection":42,"collections":5981,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":46},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,27,36,81,215,58,29,5978,34,33,30,31,7,32,143,272],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[42],{"id":5983,"slug":5984,"title":2448,"dynasty":18,"author":19,"museum":138,"description":2449,"tags":5985,"thumbUrl":5986,"material":233,"size":2452,"collection":86,"collections":5987,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":46},234092,"wu-zhong-shan-shui-ce-shen-zhou-234092",[24,25,230,27,29,7,996,505,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg",[],{"id":5989,"slug":5990,"title":5991,"dynasty":18,"author":3634,"museum":78,"description":5992,"tags":5993,"thumbUrl":5994,"material":86,"size":86,"collection":86,"collections":5995,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":71},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[24,28,229,5712,29,61,30,31,7,32,33,60,35,771,575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca98128af99bcd4311e6d5f04b4bce8.jpg",[],{"id":5997,"slug":5998,"title":1589,"dynasty":94,"author":813,"museum":78,"description":5999,"tags":6000,"thumbUrl":6001,"material":86,"size":86,"collection":86,"collections":6002,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":46},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,24,25,694,27,28,29,175,31,7,33,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":6004,"slug":6005,"title":6006,"dynasty":153,"author":6007,"museum":78,"description":6008,"tags":6009,"thumbUrl":6013,"material":86,"size":86,"collection":86,"collections":6014,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":71},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","李安忠","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[23,55,24,25,215,27,29,36,7,174,273,34,505,33,538,1653,997,600,2210,6010,6011,6012],"山石皴染","水墨山水","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":6016,"slug":6017,"title":6018,"dynasty":2508,"author":6019,"museum":78,"description":6020,"tags":6021,"thumbUrl":6023,"material":86,"size":86,"collection":86,"collections":6024,"showCount":120,"zanCount":592,"manualWeight":11,"mainColor":71},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[23,24,25,27,114,36,29,174,7,216,1506,505,3867,6022],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],{"id":6026,"slug":6027,"title":6028,"dynasty":109,"author":500,"museum":78,"description":6029,"tags":6030,"thumbUrl":6031,"material":86,"size":86,"collection":86,"collections":6032,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":46},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[23,24,27,28,36,230,29,30,31,7,84,34,35,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":6034,"slug":6035,"title":6036,"dynasty":18,"author":2249,"museum":4628,"description":6037,"tags":6038,"thumbUrl":6039,"material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、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[24,27,36,230,58,29,7,33,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F407a0f23048f46ee0041bf52f26c96e4.jpg","纵二六厘米，横四一厘米",[],{"id":6295,"slug":6296,"title":6297,"dynasty":94,"author":513,"museum":138,"description":6298,"tags":6299,"thumbUrl":6300,"material":177,"size":518,"collection":86,"collections":6301,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[55,24,25,26,28,29,27,36,37,38,203,58,30,31,7,32,33,175,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg",[],{"id":6303,"slug":6304,"title":6305,"dynasty":109,"author":6306,"museum":78,"description":6307,"tags":6308,"thumbUrl":6309,"material":86,"size":86,"collection":86,"collections":6310,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},228953,"shan-shui-li-zhou-yuan-jiang-228953","山水立轴","袁江","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[24,215,28,29,272,33,35,7,32,229,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":6312,"slug":6313,"title":6314,"dynasty":94,"author":4761,"museum":96,"description":6315,"tags":6316,"thumbUrl":6317,"material":331,"size":6318,"collection":86,"collections":6319,"showCount":89,"zanCount":592,"manualWeight":11,"mainColor":71},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,25,55,29,28,36,175,7,216,1686,60,33,34,3869,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":6321,"slug":6322,"title":6323,"dynasty":153,"author":6324,"museum":78,"description":6325,"tags":6326,"thumbUrl":6327,"material":86,"size":86,"collection":86,"collections":6328,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","江参","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,55,25,26,27,36,29,33,30,31,7,34,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":6330,"slug":6331,"title":6332,"dynasty":109,"author":500,"museum":78,"description":6333,"tags":6334,"thumbUrl":6336,"material":86,"size":86,"collection":86,"collections":6337,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[23,55,24,25,5254,27,36,114,29,7,357,6335,272,63,34,31],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],{"id":6339,"slug":6340,"title":6341,"dynasty":109,"author":6342,"museum":269,"description":6343,"tags":6344,"thumbUrl":6345,"material":233,"size":6346,"collection":42,"collections":6347,"showCount":89,"zanCount":592,"manualWeight":11,"mainColor":71},224164,"shan-shui-lou-ge-tu-liu-du-224164","山水楼阁图","刘度","该作品写冈峦叠起、山石林立、峭崖绝壁、云雾蒸腾。画作正中，主峰高耸、陡峭的崖壁处有瀑布飞流直下，在迷雾笼罩的山腰间汇成湍湍溪水。溪水沿着凹凸不平的石道蜿蜒而下，泻入碧水涟漪、明净清澈的湖中。画中主峰峥嵘突兀，烟霭弥漫，山间楼宇若隐若现，画面虚实相生、宁静空灵。山石轮廓线刻画曲折有力，皴法用笔细密工致，极为精严。山下水榭、楼阁依水而建，亭内和湖中舟上点缀以人物。近处古树高耸，黄叶灿然。看此幽山、绿崖、白云、古树，如同进入清新怡人的脱俗之境。\n《山水楼阁图》画法工细，色调明快，具有较强的装饰美。山间的白云不是用勾的方法表现，而是运用了晕染和留白的方法，墨色浓淡变化丰富，颇有韵味。古树苍茂，树叶或填以黄色、或点以绿色、或红绿相杂，树干双勾后均用淡墨兼赭色填涂。掩映于山间的楼阁亭台与水边的回廊水榭安排得错落有致，勾描工细而不僵滞。它们在山水的环抱中显得格外幽雅、别致。画中人物造型准确，临水亭台中的坐观者神态怡然，舟中收网的渔人也忙而不乱、轻松自在。此画无半点甜俗之气，让人有一种远离尘嚣的脱俗感。\n能在如此小的册页上绘出这般大的气象，可见刘度绘画水平的高超。",[23,24,55,25,28,229,36,29,61,31,7,34,272,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa71146b215b69f0608d84fc286be05.jpg","纵28.8厘米，横15.2厘米",[42],{"id":6349,"slug":6350,"title":6351,"dynasty":109,"author":6352,"museum":111,"description":6353,"tags":6354,"thumbUrl":6356,"material":233,"size":6357,"collection":86,"collections":6358,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","程邃","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[23,55,24,25,27,36,29,30,31,7,141,84,35,34,33,6355],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":6360,"slug":6361,"title":6362,"dynasty":18,"author":6363,"museum":96,"description":6364,"tags":6365,"thumbUrl":6366,"material":160,"size":6367,"collection":42,"collections":6368,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},222065,"xue-ye-fang-dai-zhou-zhou-wen-jing-222065","雪夜访戴轴","周文靖","此图描写东晋名士王徽之夜里梦醒，见月色皎洁兴致突生，遂趋船造访好友戴逵。然抵达之后，又打消念头而折回，或曰：「乘兴而来，尽兴而返。」为明代历史人物故事画之佳例。此幅构图继承南宋马、夏特色，却较之概括简约，而其潇洒放逸之笔法，则近似元人风格。",[23,24,27,28,36,215,29,7,60,371,33,5826,174,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c217c7206bd4b15f36643d89ad02332.jpg","320X120.2",[42,131],{"id":6370,"slug":6371,"title":6372,"dynasty":109,"author":500,"museum":733,"description":734,"tags":6373,"thumbUrl":6374,"material":40,"size":737,"collection":86,"collections":6375,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},214531,"yi-jin-ling-ce-3-shi-tao-214531","忆金陵册-3",[24,25,230,27,28,29,60,84,7,35,33,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aff57056092af138d63c25edfe525d.jpg",[],{"id":6377,"slug":6378,"title":6379,"dynasty":153,"author":187,"museum":96,"description":1742,"tags":6380,"thumbUrl":6381,"material":748,"size":6382,"collection":86,"collections":6383,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":71},290989,"hua-shan-shui-zhou-guo-xi-290989","画山水轴",[55,24,215,27,29,36,141,61,31,7,2650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d3d96348a81541ea51db24539a471c.jpg","188.8x95",[],23,{"id":6386,"slug":6387,"title":6388,"dynasty":153,"author":200,"museum":96,"description":6389,"tags":6390,"thumbUrl":6391,"material":100,"size":6392,"collection":86,"collections":6393,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":840},290770,"qing-jiang-yu-yin-zhou-yi-ming-290770","清江渔隐轴","该幅画渔舟四叶浮于江。岸边，复有渔夫张罟捕鱼。林麓间，可见楼宇相参，旅人策蹇。中景主峰耸立，饶具压顶的气势。",[24,215,245,36,29,31,7,1176,33,142,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c5e292a2daa5b253a162f3fd0e9034.jpg","151.5x111.1",[],{"id":6395,"slug":6396,"title":6397,"dynasty":153,"author":4210,"museum":96,"description":6398,"tags":6399,"thumbUrl":6400,"material":249,"size":6401,"collection":86,"collections":6402,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":71},290503,"chun-shan-tu-zhou-zhao-bo-ju-290503","春山图轴","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。",[55,24,25,215,56,28,29,30,31,7,61,32,33,2679,58,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60cd9de5152330c716e91a6b2be9c36.jpg","89.5x32.3",[],{"id":6404,"slug":6405,"title":6406,"dynasty":18,"author":6407,"museum":78,"description":6408,"tags":6409,"thumbUrl":6411,"material":359,"size":360,"collection":86,"collections":6412,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":46},289749,"yue-ming-xing-xi-wu-que-nan-fei-cheng-jia-sui-289749","月明星稀乌鹊南飞","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[24,25,27,29,7,63,31,175,58,6410,996],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f836bf2e69fec4b97726af8a6dc5d83.jpg",[],{"id":6414,"slug":6415,"title":6416,"dynasty":153,"author":6417,"museum":78,"description":6418,"tags":6419,"thumbUrl":6422,"material":359,"size":360,"collection":86,"collections":6423,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":71},289587,"xue-jiang-mai-yu-tu-li-dong-289587","雪江卖鱼图","李东","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[23,24,694,27,29,371,7,174,6420,31,2495,6421,36],"渔舍","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038a369550e9f84fa41dc6cef7d24d39.jpg",[],{"id":6425,"slug":6426,"title":6427,"dynasty":153,"author":3726,"museum":78,"description":3727,"tags":6428,"thumbUrl":6429,"material":359,"size":360,"collection":86,"collections":6430,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":71},288734,"xiao-xiang-ba-jing-tu-juan-liu-wang-hong-288734","潇湘八景图卷六",[55,24,26,27,245,29,7,84,995,31,30,60,1686,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd2db077996acb7d84eeb715093b04f.jpg",[],{"id":6432,"slug":6433,"title":896,"dynasty":109,"author":6434,"museum":78,"description":6435,"tags":6436,"thumbUrl":6437,"material":86,"size":86,"collection":42,"collections":6438,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":46},238987,"shan-shui-ce-yang-jin-238987","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,230,28,29,36,33,504,7,31,273,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b2b48963874015c5128a1c9ccdd5a4.jpg",[42,68],{"id":6440,"slug":6441,"title":6442,"dynasty":109,"author":1350,"museum":78,"description":6443,"tags":6444,"thumbUrl":6445,"material":86,"size":86,"collection":849,"collections":6446,"showCount":6384,"zanCount":592,"manualWeight":11,"mainColor":46},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[24,27,215,36,37,58,29,306,516,143,33,35,7,272,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[849],{"id":6448,"slug":6449,"title":6450,"dynasty":18,"author":6451,"museum":78,"description":6452,"tags":6453,"thumbUrl":6454,"material":359,"size":360,"collection":86,"collections":6455,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":46},236801,"chi-bi-tu-shan-mian-liu-yuan-qi-236801","赤壁图扇面","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,25,694,27,29,36,7,34,33,60,246,769,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85014b4daa5b192d99d625c5a10d25b.jpg",[],{"id":6457,"slug":6458,"title":6459,"dynasty":109,"author":6460,"museum":78,"description":6461,"tags":6462,"thumbUrl":6464,"material":86,"size":86,"collection":42,"collections":6465,"showCount":6384,"zanCount":592,"manualWeight":11,"mainColor":46},235923,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235923","湖山梵刹图册","潘恭寿","这幅山水以淡墨轻晕远山，层峦在烟霭中虚实错落，似被晨雾揽入怀抱，晕开悠远空寂的意境。近岸林木以水墨点染，苍润的枝叶错落生姿，烟波水泽之上孤舟独行，更衬出湖面的浩渺清寂。林间隐露梵刹一角，将禅意悄藏在湖山深处，与清远景致相融无间。\n\n画面题诗与笔墨呼应，诗画相生，以浅绛淡墨绘就江南湖山的空濛灵秀，将禅寂澹泊揉入山水烟岚，观之如身临幽寂水畔，可感风烟俱净的安宁，尽抒寄情丘壑的文人襟怀。",[24,27,29,6463,7,33,143,36,230],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedbd2ce17f3643e153453e3dffb7440.jpg",[42,68],{"id":6467,"slug":6468,"title":6469,"dynasty":18,"author":6470,"museum":78,"description":6471,"tags":6472,"thumbUrl":6473,"material":86,"size":86,"collection":86,"collections":6474,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":46},234670,"cong-shan-shui-shan-mian-gong-yun-234670","从山水扇面","龚云","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[694,24,25,27,28,29,30,31,7,63,32,142,61,60,58,36,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0deb888dcc6e61f9401f6daf73a09633.jpg",[],{"id":6476,"slug":6477,"title":4591,"dynasty":18,"author":6478,"museum":138,"description":6479,"tags":6480,"thumbUrl":6481,"material":177,"size":86,"collection":86,"collections":6482,"showCount":6384,"zanCount":592,"manualWeight":11,"mainColor":46},234244,"shan-shui-juan-zhang-fu-234244","张復","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,24,26,25,27,28,36,29,7,30,31,61,33,34,2679,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":6484,"slug":6485,"title":6486,"dynasty":18,"author":6487,"museum":78,"description":6488,"tags":6489,"thumbUrl":6490,"material":331,"size":86,"collection":86,"collections":6491,"showCount":6384,"zanCount":592,"manualWeight":11,"mainColor":71},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,55,24,25,26,28,36,29,61,30,31,7,32,63,33,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":6493,"slug":6494,"title":6495,"dynasty":94,"author":6496,"museum":96,"description":6497,"tags":6498,"thumbUrl":6499,"material":748,"size":6500,"collection":86,"collections":6501,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":71},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","王渊","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[23,55,24,25,215,27,36,816,32,60,30,31,7,29,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":6503,"slug":6504,"title":5685,"dynasty":94,"author":2093,"museum":78,"description":6505,"tags":6506,"thumbUrl":6507,"material":86,"size":86,"collection":86,"collections":6508,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":46},228069,"teng-wang-ge-tu-ye-xia-yong-228069","《滕王阁图》是 夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[23,24,25,229,82,61,7,29,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":6510,"slug":6511,"title":6512,"dynasty":94,"author":607,"museum":467,"description":6513,"tags":6514,"thumbUrl":6515,"material":2929,"size":6516,"collection":86,"collections":6517,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":71},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,24,694,27,36,29,5426,7,63,175,422,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":6519,"slug":6520,"title":4240,"dynasty":153,"author":2356,"museum":392,"description":6521,"tags":6522,"thumbUrl":6526,"material":5175,"size":6527,"collection":86,"collections":6528,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":71},221616,"xue-jing-shan-shui-ye-liang-kai-221616","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[24,245,371,174,7,6523,27,36,60,6524,6525],"寒溪","驴","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85860d84d0ad711c939e5c6fb99e44de.jpg","纵111.3厘米、横49.7厘米",[],{"id":6530,"slug":6531,"title":4789,"dynasty":153,"author":315,"museum":392,"description":6532,"tags":6533,"thumbUrl":6534,"material":1178,"size":6535,"collection":86,"collections":6536,"showCount":6384,"zanCount":11,"manualWeight":11,"mainColor":71},221535,"zhou-ren-xing-tu-ma-yuan-221535","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。 [1]\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。",[23,55,24,25,694,57,27,28,60,7,174,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":6538,"slug":6539,"title":1162,"dynasty":109,"author":597,"museum":188,"description":6540,"tags":6541,"thumbUrl":6542,"material":249,"size":86,"collection":86,"collections":6543,"showCount":6384,"zanCount":592,"manualWeight":11,"mainColor":46},214429,"shan-shui-tu-ce-2-zhu-da-214429","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[23,24,25,27,230,36,29,63,84,34,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4cf7726b542ef74bf52a253e399bd0.jpg",[],{"id":6545,"slug":6546,"title":3009,"dynasty":18,"author":4473,"museum":78,"description":6547,"tags":6548,"thumbUrl":6549,"material":359,"size":360,"collection":86,"collections":6550,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},290551,"shan-shui-zhou-xu-ben-290551","徐贲（1335-1380年），字幼文，南直隶毗陵（今江苏常州市）人。后迁平江（今江苏苏州）城北，自号北郭生，元末明初画家、诗人。吴中四杰之一，明初十才子之一。\n张士诚抗元，招为僚属。张士诚死后，俆贲与张羽避居吴兴（今浙江省湖州市）。洪武七年（1374），被荐入朝，洪武九年（1376）春，奉使晋、冀，授给事中。历任御史、刑部主事、广西参议，官至河南左布政使。洪武十一年（1378），大军征讨洮岷，以军队过境，犒劳失时，下狱。洪武十三年（1380），以“犒师不周”处死。",[24,27,29,215,58,36,61,30,31,7,33,34,32,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc1786958bb41a964d7d69070c1211b.jpg",[],22,{"id":6553,"slug":6554,"title":5540,"dynasty":94,"author":432,"museum":96,"description":4230,"tags":6555,"thumbUrl":6556,"material":249,"size":806,"collection":86,"collections":6557,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},290417,"hua-xi-yu-yin-zhou-wang-meng-290417",[55,24,215,27,29,36,31,7,33,34,35,175,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a0acb529b0bc5c0c94798e81326b50.jpg",[],{"id":6559,"slug":6560,"title":6561,"dynasty":153,"author":187,"museum":78,"description":1742,"tags":6562,"thumbUrl":6564,"material":359,"size":360,"collection":86,"collections":6565,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},290304,"yun-yan-lan-sheng-zhou-guo-xi-290304","云烟揽胜轴",[24,215,245,27,36,29,143,174,34,31,7,3228,6563],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8371c836a4c84acf0ffa9310d91859.jpg",[],{"id":6567,"slug":6568,"title":3607,"dynasty":153,"author":200,"museum":78,"description":6569,"tags":6570,"thumbUrl":6571,"material":359,"size":360,"collection":86,"collections":6572,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},290229,"feng-yu-gui-zhou-tu-yi-ming-290229","该画描绘近处巨岗高树，中部为广漠的江河，并置沙渚、坡岸、板桥、行舟、人物等，远处山峦耸峙，景色具有江南水乡山崇水阔的特点。",[24,245,7,216,1579,142,31,33,27,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f808637e953e29f61f9cc677ffd081.jpg",[],{"id":6574,"slug":6575,"title":6576,"dynasty":18,"author":3863,"museum":78,"description":6577,"tags":6578,"thumbUrl":6579,"material":359,"size":360,"collection":86,"collections":6580,"showCount":6551,"zanCount":592,"manualWeight":11,"mainColor":71},290158,"hou-chi-bi-tu-ding-yu-chuan-290158","后赤壁图","丁玉川（生卒年不详），明代中期画家。江右（今江西）人。山水宗马、夏。亦善人物，行笔草草，徒逞狂态，比于邪学。刘珝题其画云：“彼美玉川子，素慕青溪翁。远浓近淡不停手，神机所到天然工。”丁氏虽然出身江西，却主要活动于山东与北京两地，可能活到九十二岁以后。在晚明以后，丁氏被归为浙派画家之列，存世作品多被改款，以致今日难以辨识。",[55,24,25,215,27,29,141,7,63,31,60,36,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5736d6ab4b5a37a671ca41168a10c90e.jpg",[],{"id":6582,"slug":6583,"title":6584,"dynasty":18,"author":3138,"museum":78,"description":6585,"tags":6586,"thumbUrl":6587,"material":359,"size":360,"collection":86,"collections":6588,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},289789,"shan-cun-tu-li-zai-289789","山村图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[55,24,29,61,35,7,63,661,84,31,32,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501868e78597399ce0c3278de9863e44.jpg",[],{"id":6590,"slug":6591,"title":4085,"dynasty":153,"author":187,"museum":78,"description":1742,"tags":6592,"thumbUrl":6593,"material":359,"size":360,"collection":86,"collections":6594,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},289729,"dai-du-tu-guo-xi-289729",[24,55,245,174,7,371,997,36,1794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46443a087c5a90d3ffc116ed0cd1d89d.jpg",[],{"id":6596,"slug":6597,"title":6598,"dynasty":153,"author":2647,"museum":78,"description":6599,"tags":6600,"thumbUrl":6601,"material":359,"size":360,"collection":86,"collections":6602,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},289588,"yan-jiang-yu-yu-tu-pu-an-289588","烟江欲雨图","全图用笔简放雄劲，具有水墨多彩，淋漓尽致的效果。树干树枝随手点画，人物、小舟更信手勾画，画法生动活泼。是南宋马夏一派的佳作。",[24,27,245,3961,1702,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dc6f53335e9ffa22bf95943de7b1f.jpg",[],{"id":6604,"slug":6605,"title":926,"dynasty":153,"author":154,"museum":78,"description":6606,"tags":6607,"thumbUrl":6608,"material":359,"size":360,"collection":86,"collections":6609,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},289374,"dong-ting-qiu-yue-tu-xia-gui-289374","描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[24,55,215,27,36,29,84,661,141,7,303,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dc250e39a664397ff48c4925b0cb88.jpg",[],{"id":6611,"slug":6612,"title":3137,"dynasty":18,"author":3138,"museum":78,"description":6613,"tags":6614,"thumbUrl":6616,"material":359,"size":360,"collection":86,"collections":6617,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},288827,"shan-zhuang-gao-yi-tu-li-zai-288827","此画曾传为郭熙作，实为李在手笔。这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。",[23,24,215,27,36,29,61,30,31,7,661,84,272,231,704,60,6615],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7de78491754e0443afe228850bafd56.jpg",[],{"id":6619,"slug":6620,"title":1892,"dynasty":153,"author":187,"museum":78,"description":1893,"tags":6621,"thumbUrl":6623,"material":359,"size":360,"collection":86,"collections":6624,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":840},288506,"qiu-shan-xing-lv-tu-guo-xi-288506",[23,24,55,245,27,36,6622,34,1220,31,7,704,562],"秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e7ca9f20e1578206e7ed6d99bcb96.jpg",[],{"id":6626,"slug":6627,"title":6628,"dynasty":153,"author":187,"museum":96,"description":1742,"tags":6629,"thumbUrl":6630,"material":359,"size":360,"collection":86,"collections":6631,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":840},288271,"feng-nian-rui-xue-tu-guo-xi-288271","丰年瑞雪图",[24,215,29,27,36,371,34,33,32,30,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed85e399afa0ec95a0db923ec9ae547.jpg",[],{"id":6633,"slug":6634,"title":6635,"dynasty":18,"author":3572,"museum":78,"description":6636,"tags":6637,"thumbUrl":6638,"material":359,"size":360,"collection":131,"collections":6639,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[23,24,26,245,28,36,34,246,7,446,61,30,1220,1686,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[131],{"id":6641,"slug":6642,"title":6643,"dynasty":109,"author":6434,"museum":78,"description":6644,"tags":6645,"thumbUrl":6646,"material":86,"size":86,"collection":86,"collections":6647,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},239055,"shan-shui-hua-niao-ce-yang-jin-239055","山水花鸟册","此帧以淡墨绘就江乡秋景，浅滩芦荻丛生，扁舟渔翁垂竿独钓，自在悠然。右侧汀上古木倚石，野趣天成。远景山峦以简笔晕染，空濛悠远，雁阵掠过长空，更衬江天寥廓。\n\n留白铺就无尽秋意，笔墨秀雅清润，萧疏淡远间尽显闲逸襟怀。题诗与画作相映，将秋日江乡的清冷疏旷，与渔樵忘机的隐逸之思相融，尽显文人画平淡天真的意趣，悠悠古韵沁入纸面。",[24,27,230,36,29,7,216,63,141,303,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91d92407b63081d12b841b16dc7887d.jpg",[],{"id":6649,"slug":6650,"title":6651,"dynasty":18,"author":3811,"museum":78,"description":6652,"tags":6653,"thumbUrl":6654,"material":359,"size":360,"collection":42,"collections":6655,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},235764,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-dou-ya-tu-ye-chen-chun-235764","吴门诸家寿袁方斋三绝册-斗鸭图页","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[24,25,230,27,29,7,31,32,141,84,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[42],{"id":6657,"slug":6658,"title":896,"dynasty":109,"author":6659,"museum":78,"description":6660,"tags":6661,"thumbUrl":6662,"material":359,"size":360,"collection":42,"collections":6663,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},235546,"shan-shui-ce-zhu-chang-235546","祝昌","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[24,25,230,27,36,29,30,31,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ad5b2fa16ff516a5cdea7f7f52a564.jpg",[42],{"id":6665,"slug":6666,"title":4032,"dynasty":18,"author":4033,"museum":138,"description":4034,"tags":6667,"thumbUrl":6668,"material":1178,"size":4038,"collection":86,"collections":6669,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},234949,"yu-zhou-du-shu-tu-zhou-jiang-song-234949",[24,27,29,7,60,36,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b436fb46365514b47ff47102ebf8511.jpg",[],{"id":6671,"slug":6672,"title":6673,"dynasty":18,"author":3841,"museum":78,"description":6674,"tags":6675,"thumbUrl":6676,"material":86,"size":86,"collection":86,"collections":6677,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","山水册页","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,25,55,230,27,28,36,29,34,33,31,7,60,2868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":6679,"slug":6680,"title":6681,"dynasty":94,"author":607,"museum":78,"description":6682,"tags":6683,"thumbUrl":6684,"material":86,"size":86,"collection":86,"collections":6685,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,25,26,28,29,36,306,516,7,33,60,31,32,1567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":6687,"slug":6688,"title":4933,"dynasty":94,"author":607,"museum":78,"description":6689,"tags":6690,"thumbUrl":6691,"material":86,"size":86,"collection":86,"collections":6692,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,25,230,27,36,28,29,33,7,30,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":6694,"slug":6695,"title":6696,"dynasty":153,"author":6697,"museum":78,"description":6698,"tags":6699,"thumbUrl":6700,"material":86,"size":86,"collection":86,"collections":6701,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","朱锐","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。",[23,55,24,25,230,28,229,36,29,7,61,661,84,31,191,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":6703,"slug":6704,"title":6705,"dynasty":153,"author":744,"museum":78,"description":6706,"tags":6707,"thumbUrl":6708,"material":86,"size":86,"collection":86,"collections":6709,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,55,24,25,26,81,36,27,28,37,58,29,7,216,31,34,33,141,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":6711,"slug":6712,"title":3245,"dynasty":153,"author":3246,"museum":78,"description":6713,"tags":6714,"thumbUrl":6715,"material":86,"size":86,"collection":86,"collections":6716,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,25,26,82,28,60,29,32,30,31,7,33,61,37,58,1379,1581,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":6718,"slug":6719,"title":6720,"dynasty":109,"author":5449,"museum":96,"description":6721,"tags":6722,"thumbUrl":6724,"material":233,"size":6725,"collection":42,"collections":6726,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},223119,"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,25,215,27,36,58,29,1673,6723,30,31,7,32,60,34,33],"云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[42,131],{"id":6728,"slug":6729,"title":6730,"dynasty":94,"author":5423,"museum":138,"description":6731,"tags":6732,"thumbUrl":6733,"material":5175,"size":6734,"collection":86,"collections":6735,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},221825,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-221825","秋林垂钓图页","画上一老翁坐于船头专心致志钓鱼，岸上二株松树耸立，画面简洁、幽静。朱德润，字泽民，号睢阳山人，善诗文，工书法，格调遒丽。",[23,24,25,694,27,29,84,7,216,175,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc2f13a87dfedf73b5dab0419e4fad5.jpg","28.1X26.6cm",[],{"id":6737,"slug":6738,"title":6739,"dynasty":153,"author":2530,"museum":138,"description":6740,"tags":6741,"thumbUrl":6742,"material":1178,"size":5142,"collection":86,"collections":6743,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":71},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[23,55,24,25,26,57,28,38,58,37,3646,1942,60,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg",[],{"id":6745,"slug":6746,"title":6747,"dynasty":1551,"author":6748,"museum":3029,"description":6749,"tags":6750,"thumbUrl":6751,"material":86,"size":86,"collection":86,"collections":6752,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},220514,"chuan-yue-jiang-shan-de-ju-li-pu-xin-she-220514","穿越江山的距离","溥心畬","以淡墨晕染烟江叠嶂，远山轻描淡扫，留白托出平湖空寂，幽远淡宕。近岸佳木扶苏，笔致清劲灵秀，苍枝翠叶错落生姿，坡石间高士垂眉静坐，与烟水林泉相融无间。\n题跋笔墨隽雅，诗画相映，将幽居闲赏的林下襟怀藏于尺幅间。极简的水墨层次铺展空疏淡远之境，把天地间的清寂逸趣凝缩在这一纸烟岚里，尽显东方文人画的静穆禅意。",[23,24,25,215,27,36,38,58,29,33,7,60,34,273,2210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7f7ce3d1ef48dddd8b0d0f9283b6ce.jpg",[],{"id":6754,"slug":6755,"title":6756,"dynasty":109,"author":6757,"museum":3090,"description":6758,"tags":6759,"thumbUrl":6760,"material":40,"size":86,"collection":86,"collections":6761,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":46},214483,"he-yi-shan-shui-tu-ce-4-he-yi-214483","赫奕山水图册-4","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,24,25,230,28,27,36,29,30,31,7,33,34,35,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0ed1d6ade19cb4365110ecfc3dc38c.jpg",[],{"id":6763,"slug":6764,"title":6765,"dynasty":109,"author":6766,"museum":20,"description":6767,"tags":6768,"thumbUrl":6769,"material":86,"size":86,"collection":42,"collections":6770,"showCount":6551,"zanCount":11,"manualWeight":11,"mainColor":6771},201849,"qing-zhou-du-diao-tu-zhou-chen-shuo-201849","轻舟独钓图轴","陈说","水墨晕染间，峰峦被云雾轻笼，山石以皴法勾勒纹理，显苍劲质感。近岸古松盘曲，枝桠斜逸；溪中乱石堆叠，流水隐现；远处孤舟独泊，蓑笠翁垂纶静坐，渔隐之趣盎然。笔墨简淡却意韵悠长，山水静谧与渔者闲适交织，尽显文人向往的超然心境。",[27,36,29,7,216,175,84,31,141,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a46417c3d75d84df9677da9ae142436.jpg",[42],"b69e82",{"id":6773,"slug":6774,"title":6775,"dynasty":18,"author":4965,"museum":78,"description":6776,"tags":6777,"thumbUrl":6779,"material":359,"size":360,"collection":86,"collections":6780,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":71},290915,"tian-chi-shi-bi-zhou-lu-zhi-290915","天池石壁轴","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[55,24,215,245,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作品有《西成民乐图卷》《岁丰图卷》等。",[24,55,245,27,36,7,32,30,142,505,33,37,58,3311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":6800,"slug":6801,"title":6273,"dynasty":153,"author":154,"museum":78,"description":6802,"tags":6803,"thumbUrl":6804,"material":359,"size":360,"collection":86,"collections":6805,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":71},287718,"xi-hu-liu-ting-tu-xia-gui-287718","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[55,24,245,27,28,36,1526,30,31,7,32,61,2679,175,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],{"id":6807,"slug":6808,"title":6809,"dynasty":109,"author":1302,"museum":78,"description":5121,"tags":6810,"thumbUrl":6811,"material":359,"size":360,"collection":86,"collections":6812,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},287690,"you-ju-tu-kun-can-287690","幽居图",[24,27,29,55,30,31,7,6563,142,33,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75a6e8ddc61f4f930a7c121024ce85b.jpg",[],{"id":6814,"slug":6815,"title":6816,"dynasty":109,"author":4147,"museum":78,"description":6817,"tags":6818,"thumbUrl":6819,"material":359,"size":360,"collection":42,"collections":6820,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},239371,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239371","画载月十咏诗意册","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[24,25,230,27,28,29,174,7,63,303,34,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802a3fac4a620ea4ffc6e3e70fcfe962.jpg",[42,68],{"id":6822,"slug":6823,"title":6643,"dynasty":109,"author":6434,"museum":78,"description":6824,"tags":6825,"thumbUrl":6826,"material":86,"size":86,"collection":86,"collections":6827,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},239056,"shan-shui-hua-niao-ce-yang-jin-239056","此帧以淡墨晕染烟霭远山，浅皴轻点绘就嶙峋危崖。崖顶古松盘曲若游龙，半遮山亭，似有幽人凭槛远眺江帆。山径逶迤接引视线，山下村居田亩隐于墨色浅深间，野趣自生。\n\n全幅笔致松秀简淡，将江南山水的温润清和融于尺幅之中。浅淡烟岚晕化开天地边界，远江帆影轻似闲云，悠悠漾开山水纵深感。左侧题字清雅，笔墨与画意相映成趣，以极简笔墨勾勒出林泉高致，尽显文人寄情丘壑的闲淡意趣。",[24,27,230,36,29,32,7,422,34,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfc4436b9b6be9d016480c45a840438.jpg",[],{"id":6829,"slug":6830,"title":6831,"dynasty":18,"author":6832,"museum":78,"description":6833,"tags":6834,"thumbUrl":6835,"material":359,"size":360,"collection":86,"collections":6836,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},237404,"shan-shui-shan-mian-xie-dao-ling-237404","山水扇面","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[694,24,29,27,36,61,30,31,7,33,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b71c94b91201216e2e0f580b8bddcc.jpg",[],{"id":6838,"slug":6839,"title":6840,"dynasty":18,"author":4965,"museum":78,"description":6776,"tags":6841,"thumbUrl":6842,"material":359,"size":360,"collection":86,"collections":6843,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},235532,"shan-shui-shan-ye-lu-zhi-235532","山水扇页",[694,24,25,27,28,29,33,32,31,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe1ef5fbf574dd1807ab602c8ebf44d.jpg",[],{"id":6845,"slug":6846,"title":6847,"dynasty":18,"author":170,"museum":138,"description":6848,"tags":6849,"thumbUrl":6851,"material":1178,"size":6852,"collection":86,"collections":6853,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":71},233697,"yun-he-cang-yu-tu-zhou-lan-ying-233697","云壑藏渔图轴","此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。",[24,25,215,28,29,36,880,6850,7,357,59,34,272,175],"壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4d2c8bdbaefa91e4ad1677373af496.jpg","纵369厘米，横98厘米",[],{"id":6855,"slug":6856,"title":5666,"dynasty":18,"author":5667,"museum":138,"description":5668,"tags":6857,"thumbUrl":6858,"material":3094,"size":5671,"collection":86,"collections":6859,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},233471,"ren-wu-hua-hui-ce-xu-wei-233471",[24,25,230,27,114,60,7,216,175,996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958d611c7f15a82d83dc81af02689a19.jpg",[],{"id":6861,"slug":6862,"title":6863,"dynasty":153,"author":200,"museum":96,"description":6864,"tags":6865,"thumbUrl":6867,"material":128,"size":6868,"collection":86,"collections":6869,"showCount":104,"zanCount":592,"manualWeight":11,"mainColor":71},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[2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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。",[23,55,24,26,27,29,142,246,7,446,33,37,58,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafba50469ef5c4deb60c77b30964c2f9.jpg",[],{"id":7009,"slug":7010,"title":7011,"dynasty":109,"author":7012,"museum":78,"description":7013,"tags":7014,"thumbUrl":7015,"material":86,"size":86,"collection":42,"collections":7016,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},238097,"hong-wu-shan-shui-ce-hong-wu-238097","弘旿山水册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,230,27,36,29,84,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc717244aa971e7b3f826512d59005905.jpg",[42,68],{"id":7018,"slug":7019,"title":6831,"dynasty":18,"author":7020,"museum":78,"description":7021,"tags":7022,"thumbUrl":7023,"material":359,"size":360,"collection":86,"collections":7024,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},237869,"shan-shui-shan-mian-wu-bin-237869","吴彬","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。",[24,694,27,36,29,33,34,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c22e0115a9fdf45ed559e83e83397d8.jpg",[],{"id":7026,"slug":7027,"title":896,"dynasty":109,"author":1103,"museum":3247,"description":7028,"tags":7029,"thumbUrl":7031,"material":86,"size":86,"collection":42,"collections":7032,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},236731,"shan-shui-ce-hua-yan-236731","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,27,230,37,58,29,7,141,31,7030,36],"丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43d5f7e219be9710dcb9f942f6ea8a7.jpg",[42,68],{"id":7034,"slug":7035,"title":896,"dynasty":109,"author":7036,"museum":78,"description":7037,"tags":7038,"thumbUrl":7039,"material":86,"size":86,"collection":42,"collections":7040,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},236076,"shan-shui-ce-shen-zong-jing-236076","沈宗敬","此作用笔苍秀，以干笔皴擦勾勒近侧危崖，嶙峋石体质感尽显，崖顶古松挺劲，枝桠舒展带风霜之态。崖畔孤亭兀立石台，凭虚临空，暗合幽人隐逸之思。\n烟波浩渺的江面之上，扁舟随波缓行，远景山峦澹晕隐现，晕染出空濛悠远的水天色。整幅水墨写意，糅合北派山水的雄健质感与南宗山水的淡远意境，萧散简淡的笔意间铺展出林泉高致的幽旷之境，将山居江湖的清寂冷逸尽数彰显，把文人寄情山水的隐逸襟怀藏于尺幅之中。",[24,27,230,36,29,34,357,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4bd7b1242ed0c8d84ab4be3bba94b9.jpg",[42],{"id":7042,"slug":7043,"title":7044,"dynasty":109,"author":2054,"museum":78,"description":7045,"tags":7046,"thumbUrl":7047,"material":86,"size":86,"collection":86,"collections":7048,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},235136,"shuang-feng-lan-re-tu-zhou-cha-shi-biao-235136","双峰兰若图轴","此作用笔简率松秀，以干笔淡墨绘就林泉丘壑。构图兼具高远、深远之致，上部平湖远山，轻舟泛波，空寂悠然；中部危崖矗立，山居隐于幽谷林麓；下部溪桥蜿蜒，长松杂木苍润清隽。\n画风承袭倪瓒遗意，意境荒寒清旷，题诗与山水交融，将暮色归舟、倦鸟投林的幽寂禅意晕开，尽显江南山水的雅逸空灵，把遗民文人孤寂淡远的心境，寄寓于萧散淡远的林泉之间，是逸笔山水的上乘之作。",[24,25,215,27,36,29,2036,141,30,84,31,7,2868,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9077b316f660c1c5318a901885a06687.jpg",[],{"id":7050,"slug":7051,"title":7052,"dynasty":18,"author":200,"museum":138,"description":7053,"tags":7054,"thumbUrl":7055,"material":1284,"size":7056,"collection":86,"collections":7057,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":71},234850,"ming-ren-ta-xue-xun-mei-tu-zhou-yi-ming-234850","明人踏雪寻梅图轴","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[24,215,28,29,60,370,1209,34,174,7,36,32,1445,33,2868,3058,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F634973a6f6c09d6dcbadcd623b2d458b.jpg","纵83.5厘米，横47.2厘米",[],{"id":7059,"slug":7060,"title":7061,"dynasty":18,"author":7062,"museum":78,"description":7063,"tags":7064,"thumbUrl":7065,"material":359,"size":360,"collection":86,"collections":7066,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},234826,"jiang-nan-chun-se-tu-shan-wen-cong-jian-234826","江南春色图扇","文从简","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。",[694,24,25,29,28,31,7,1526,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9775cd52498585ad3bd8ab52b20e0ceb.jpg",[],{"id":7068,"slug":7069,"title":7070,"dynasty":94,"author":607,"museum":138,"description":7071,"tags":7072,"thumbUrl":7073,"material":588,"size":7074,"collection":86,"collections":7075,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[24,25,27,29,60,33,7,216,37,58,36,31,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":7077,"slug":7078,"title":7079,"dynasty":109,"author":500,"museum":138,"description":7080,"tags":7081,"thumbUrl":7082,"material":233,"size":7083,"collection":86,"collections":7084,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},233124,"yuan-ji-shan-shui-ce-shi-tao-233124","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,27,28,36,230,29,61,30,31,7,32,33,35,273,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29641db.jpg","纵33.2cm，横22.8cm",[],{"id":7086,"slug":7087,"title":339,"dynasty":153,"author":187,"museum":96,"description":7088,"tags":7089,"thumbUrl":7090,"material":86,"size":86,"collection":86,"collections":7091,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":71},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[23,24,25,29,36,27,28,230,7,84,34,246,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":7093,"slug":7094,"title":7095,"dynasty":109,"author":1103,"museum":78,"description":7096,"tags":7097,"thumbUrl":7099,"material":86,"size":86,"collection":86,"collections":7100,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[55,24,25,230,27,56,28,29,357,34,33,31,30,7,7098,36],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":7102,"slug":7103,"title":7104,"dynasty":109,"author":7105,"museum":78,"description":7106,"tags":7107,"thumbUrl":7108,"material":86,"size":86,"collection":86,"collections":7109,"showCount":6934,"zanCount":592,"manualWeight":11,"mainColor":46},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,25,230,27,36,29,61,32,7,34,33,143,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":7111,"slug":7112,"title":7113,"dynasty":18,"author":51,"museum":78,"description":5308,"tags":7114,"thumbUrl":7115,"material":359,"size":360,"collection":86,"collections":7116,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选",[23,24,25,694,57,28,60,7,29,422,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":7118,"slug":7119,"title":7120,"dynasty":153,"author":3672,"museum":78,"description":7121,"tags":7122,"thumbUrl":7123,"material":86,"size":86,"collection":86,"collections":7124,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,25,694,28,29,36,58,357,61,7,34,33,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":7126,"slug":7127,"title":7128,"dynasty":153,"author":200,"museum":78,"description":7129,"tags":7130,"thumbUrl":7131,"material":86,"size":86,"collection":86,"collections":7132,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n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，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。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。",[23,24,25,26,27,36,29,60,61,30,31,7,32,63,661,84,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":7134,"slug":7135,"title":7136,"dynasty":2508,"author":4639,"museum":78,"description":7137,"tags":7138,"thumbUrl":7139,"material":86,"size":86,"collection":86,"collections":7140,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":71},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[23,24,25,27,215,29,61,7,34,31,36,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":7142,"slug":7143,"title":7144,"dynasty":18,"author":19,"museum":20,"description":7145,"tags":7146,"thumbUrl":7147,"material":588,"size":7148,"collection":86,"collections":7149,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},222132,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222132","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[23,24,25,230,28,29,36,61,7,231,33,31,1592,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb344ee3c9cde2e862603824960d7fefa.jpg","纵42.2厘米，横23.8厘米",[],{"id":7151,"slug":7152,"title":7153,"dynasty":18,"author":2317,"museum":96,"description":7154,"tags":7155,"thumbUrl":7156,"material":160,"size":7157,"collection":86,"collections":7158,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":71},222017,"jin-shan-tu-zhou-wen-zheng-ming-222017","金山图轴","文氏将金山描绘成万顷波涛中的一座岛屿，波涛间点缀着风帆。全幅以秃笔中锋出之，笔致苍健。乾隆皇帝南巡经过金山寺江阁，曾取此图展玩，并题诗云:“携将亲证取，当境固如斯”，说明了他携带古画即景印证的雅好。",[23,24,25,215,27,36,29,61,7,58,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db83391670deabb833cf95e93affb45.jpg","横23.8cm，纵70cm",[],{"id":7160,"slug":7161,"title":7162,"dynasty":153,"author":2033,"museum":96,"description":7163,"tags":7164,"thumbUrl":7165,"material":160,"size":2038,"collection":849,"collections":7166,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,25,26,29,27,36,37,38,972,1129,7,33,158,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg",[849],{"id":7168,"slug":7169,"title":7170,"dynasty":109,"author":1350,"museum":490,"description":7171,"tags":7172,"thumbUrl":7181,"material":40,"size":7182,"collection":86,"collections":7183,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},217214,"fang-gu-shan-shui-shi-er-kai-si-wang-hui-217214","仿古山水十二开(四)","此册王翚仿古十二开",[24,27,36,230,29,7,32,33,34,31,273,505,7173,7174,7175,7176,7177,7178,7179,7180],"林间小屋","层叠山峦","树木丛生","山石错落","水面孤舟","近景山石","中景树木小屋","远景山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb4730a38b7c25f23dbc3beb36ddadf.jpg","25x35.4cm",[],{"id":7185,"slug":7186,"title":7187,"dynasty":109,"author":6757,"museum":3090,"description":6758,"tags":7188,"thumbUrl":7189,"material":40,"size":7190,"collection":86,"collections":7191,"showCount":6934,"zanCount":11,"manualWeight":11,"mainColor":46},214485,"he-yi-shan-shui-tu-ce-2-he-yi-214485","赫奕山水图册-2",[23,24,230,27,28,36,29,33,35,31,7,34,273,30,2210,1702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4892d0aedc2558783662d11734848d.jpg","34x25cm",[],{"id":7193,"slug":7194,"title":7195,"dynasty":94,"author":432,"museum":78,"description":4230,"tags":7196,"thumbUrl":7198,"material":359,"size":360,"collection":86,"collections":7199,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":71},290260,"quan-sheng-song-yun-tu-ke-luo-ban-wang-meng-290260","泉声松韵图（珂罗版）",[23,24,27,245,36,142,357,7197,30,31,7,61,37,58],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca815d4b818f75839f95fe04da5d062.jpg",[],{"id":7201,"slug":7202,"title":7203,"dynasty":153,"author":7204,"museum":78,"description":7205,"tags":7206,"thumbUrl":7207,"material":359,"size":360,"collection":86,"collections":7208,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},290167,"qiu-jiang-fu-ting-tu-ke-luo-ban-zhu-huai-jin-290167","秋江浮艇图（珂罗版）","朱怀瑾","[宋]钱塘（今杭州）人。宝佑（一二五三―一二五八）间画院待诏。景定（一二六o――一二六四）间为福王府使臣，咸淳（一二六五―一二七四）间赐金带。工山水、人物、树木、窠石，作雪景用墨全师夏珪，谨守规矩，不敢肆笔。《杭州志》、《图绘宝鉴》、《画史会要》",[24,27,29,215,7,31,174,63,34,175,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd843df33958c2acb7ddb8952db6b2c2d.jpg",[],{"id":7210,"slug":7211,"title":7212,"dynasty":153,"author":1463,"museum":78,"description":7213,"tags":7214,"thumbUrl":7215,"material":359,"size":360,"collection":86,"collections":7216,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},288518,"qiu-jiang-ming-po-tu-zhao-gou-288518","秋江瞑泊图","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。",[23,24,55,25,694,27,29,31,7,84,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f38a38f40d9ef6cbc5a04e3d855599e.jpg",[],{"id":7218,"slug":7219,"title":7220,"dynasty":109,"author":5638,"museum":78,"description":7221,"tags":7222,"thumbUrl":7224,"material":86,"size":86,"collection":42,"collections":7225,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},238768,"shan-shui-ren-wu-xiao-ce-dong-gao-238768","山水人物小册","此作取半边构图造境，左畔崖岸虬松错立，丹黄枝叶点染秋韵，苍林幽泉尽纳尺幅之间。右侧留白以细劲墨线勾出水波纡徐，浅赭轻描远渚，一叶扁舟悠然凌波，以简驭繁铺展出秋水长天的空茫逸趣。笔墨清隽秀雅，皴擦柔婉不失骨力，设色轻淡明净，以少胜多，将林泉幽寂与江湖远意相融，尽显留白造境的悠然意趣，淡远萧散的林下之风跃然纸上。",[24,230,28,36,29,60,7,33,34,31,27,25,7223],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647239f68b0592221cd30bfb0b9043b3.jpg",[42,68],{"id":7227,"slug":7228,"title":7229,"dynasty":109,"author":500,"museum":78,"description":7230,"tags":7231,"thumbUrl":7232,"material":86,"size":86,"collection":86,"collections":7233,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},235894,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235894","原济黄山游图册","此作用笔干湿互济，左侧危崖以焦墨勾勒皴擦，线条朴拙厚重，苍劲雄浑。右侧水泽间芦荻随风轻曳，浅渚扁舟静泊，淡墨晕染出水气空濛的柔润质感，虚实相生晕开江南水畔清寂氛围。\n\n题诗落于左上角，以书入画诗画相融，铺展出江湖幽独的野逸之趣。画师以极简笔墨绘就林泉隐逸之景，淡简中自含苍茫悠远的意境，寄寓着寄情山水的隐逸襟怀，尽显萧散淡远的文人意趣。",[55,24,25,230,27,36,29,141,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8cd68e458f9c8cd71f269d55f44adc.jpg",[],{"id":7235,"slug":7236,"title":7237,"dynasty":109,"author":500,"museum":138,"description":7238,"tags":7239,"thumbUrl":7240,"material":5265,"size":7083,"collection":86,"collections":7241,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},234997,"yuan-ji-shan-shui-tu-ce-shi-tao-234997","原济山水图册","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,230,27,36,29,7,31,34,33,63,35,999],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60998edd7aa06ac4ca0e9c4fd7984022.jpg",[],{"id":7243,"slug":7244,"title":7245,"dynasty":109,"author":7246,"museum":78,"description":7247,"tags":7248,"thumbUrl":7249,"material":86,"size":86,"collection":42,"collections":7250,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},234684,"ba-jia-shan-shui-ce-duan-qiao-wo-liu-tu-ce-ye-jin-shu-ming-234684","八家山水册-断桥卧柳图册页","金庶明","图绘远山,小舟,一游人在江上垂钓",[24,25,230,28,56,36,29,30,31,7,1526,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e7d8e39abe98d0e19856b22fc56f18.jpg",[42,68],{"id":7252,"slug":7253,"title":4102,"dynasty":94,"author":4103,"museum":138,"description":4104,"tags":7254,"thumbUrl":7255,"material":276,"size":4107,"collection":86,"collections":7256,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},233220,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-233220",[24,25,215,27,36,29,7,769,33,273,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce68dbca86ab65c25a6f0e74749f9db.jpg",[],{"id":7258,"slug":7259,"title":2750,"dynasty":153,"author":4210,"museum":96,"description":7260,"tags":7261,"thumbUrl":7262,"material":116,"size":7263,"collection":86,"collections":7264,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":840},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,55,24,25,215,28,29,61,30,31,7,57,36,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":7266,"slug":7267,"title":7268,"dynasty":109,"author":2054,"museum":78,"description":7269,"tags":7270,"thumbUrl":7271,"material":86,"size":86,"collection":86,"collections":7272,"showCount":165,"zanCount":592,"manualWeight":11,"mainColor":46},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,24,25,215,27,36,29,7,63,84,31,141,175,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":7274,"slug":7275,"title":7276,"dynasty":109,"author":7277,"museum":78,"description":7278,"tags":7279,"thumbUrl":7280,"material":86,"size":86,"collection":86,"collections":7281,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[24,27,230,36,1442,29,7,31,141,33,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],{"id":7283,"slug":7284,"title":7285,"dynasty":18,"author":19,"museum":78,"description":7286,"tags":7287,"thumbUrl":7288,"material":359,"size":360,"collection":86,"collections":7289,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,25,26,29,28,27,36,38,58,306,422,329,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":7291,"slug":7292,"title":7293,"dynasty":18,"author":2492,"museum":78,"description":7294,"tags":7295,"thumbUrl":7296,"material":86,"size":86,"collection":86,"collections":7297,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,25,26,27,28,29,458,31,7,63,996,60,175,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":7299,"slug":7300,"title":7301,"dynasty":153,"author":7302,"museum":78,"description":7303,"tags":7304,"thumbUrl":7305,"material":86,"size":86,"collection":86,"collections":7306,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":71},227800,"yan-jiang-fan-ying-tu-xia-sen-227800","烟江帆影图","夏森","此作用淡墨晕染出空濛烟江，远山清瘦，隐在漫卷的雾霭中，只露出错落峰尖，虚实间揉碎了天地边界，将江南烟雨的柔婉朦胧铺展开来。近岸林木简笔勾勒，与烟岚相融，愈发衬出江天的空寂辽远。左下角孤舟凌波，渔人悠然棹行，寥寥数笔便点染出江上行旅的幽寂况味。\n\n全幅以留白衬出水天长阔，笔简意足，将静穆禅意藏在烟波里，把江上一瞬的清寂之美定格，淡远含蓄，尽显山水空濛悠远的诗意。",[23,24,25,55,694,27,29,7,305,422,143,3963,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf554147c093468663cf70503980f95.jpg",[],{"id":7308,"slug":7309,"title":7310,"dynasty":153,"author":3118,"museum":78,"description":7311,"tags":7312,"thumbUrl":7313,"material":86,"size":86,"collection":86,"collections":7314,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":71},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n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，虚处乃为江上水气所迷，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。该图近山浓重，远山清淡，又形成虚实对比。",[23,55,24,25,245,229,36,28,34,33,1129,7,272,769,61,273,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":7316,"slug":7317,"title":7318,"dynasty":109,"author":500,"museum":78,"description":7319,"tags":7320,"thumbUrl":7321,"material":86,"size":86,"collection":86,"collections":7322,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},224505,"shan-shui-ce-kai-shi-shi-tao-224505","山水冊开(十)","此作以淡墨晕染山水，江上扁舟轻漾，白衣士人立舟头，身伴仙鹤，与撑篙舟子共赴江天。远山以浅赭淡墨晕化，似笼着氤氲薄雾，虚实相生间尽显江空岑寂之美。近岸以枯涩焦笔勾勒嶙峋怪石，与淡远云山形成刚柔对照。右侧题笔纵逸苍劲，诗画相融，将乘舟遣兴的悠然襟怀诉诸笔端，以简淡之笔写尽江湖散人意趣，笔墨随心生发，尽显随性放达的文人风骨。",[23,24,25,27,29,7,60,306,58,37,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329d8a848e21eec4000cbfe815172720.jpg",[],{"id":7324,"slug":7325,"title":7326,"dynasty":109,"author":500,"museum":78,"description":7327,"tags":7328,"thumbUrl":7329,"material":86,"size":86,"collection":86,"collections":7330,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},224504,"shan-shui-ce-kai-liu-shi-tao-224504","山水冊开(六)","此作用淡赭轻晕山峦，焦墨点染林木，笔意纵肆苍秀。近观村舍错落溪畔，渔翁独棹扁舟泛于清波，丹崖翠岫间松柯虬劲，墨色苍润见层次。远景峰岫隐在烟岚留白中，晕出水气空濛的夏夕凉意。\n\n页首题诗与画境浑然相融，将山畔闲居、横塘晚风的清寂悠然铺展开来，以尺幅写尽江南水乡的淡远萧散，借山水寄寓胸中丘壑，尽显文人画幽淡旷达的意趣。",[24,25,230,27,28,36,29,7,33,35,142,31,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7ed3d690ac35d0a82eb7f20090f30a.jpg",[],{"id":7332,"slug":7333,"title":7334,"dynasty":109,"author":500,"museum":78,"description":7335,"tags":7336,"thumbUrl":7337,"material":86,"size":86,"collection":86,"collections":7338,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},224499,"shan-shui-ce-kai-san-shi-tao-224499","山水冊开(三)","石涛（1642—177）名原济，号大涤子、清湘老人、苦瓜和尚、济山僧、瞎尊者等。\n石涛原名朱若极，明代藩靖江王后裔，父朱享嘉于南明隆武时在广西自称“监国”，遭俘杀。\n石涛便隐匿起来，后出家为僧。\n石涛曾游历过许多名山大川，有“搜尽奇峰打草稿”、“笔墨当随时代”名言。\n石涛晚年寓居扬州，卖画为业。\n这里介绍的石涛山水，是藏于故宫博物院、以唐代王维、李白、张说等人诗意创作的八开册页中的一页。\n每开册页纵2.厘米，横16.5厘米，纸本，水墨淡设色。\n石涛擅山水、花卉，师宋、元诸家，参以造化，自创一格，笔墨清新多变、天真烂漫，对后世影响极大。\n石涛与石溪并称“二石”，再加朱耷、弘仁，便称“清初四画僧”。\n石涛存世作品尚多，著述则有《苦瓜和尚画语录》、《 》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[23,24,27,28,36,230,29,7,84,35,34,33,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":7340,"slug":7341,"title":7342,"dynasty":109,"author":6757,"museum":96,"description":7343,"tags":7344,"thumbUrl":7346,"material":7347,"size":7348,"collection":42,"collections":7349,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[23,24,25,215,28,29,36,38,58,723,7345,33,7,32,34,31],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","绢本 设色","99.4x48.3cm",[42,68],{"id":7351,"slug":7352,"title":7353,"dynasty":18,"author":170,"museum":138,"description":7354,"tags":7355,"thumbUrl":7356,"material":116,"size":7357,"collection":86,"collections":7358,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,25,230,28,27,36,37,29,34,33,63,31,7,32,143,30,446,7098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":7360,"slug":7361,"title":7362,"dynasty":18,"author":170,"museum":96,"description":5172,"tags":7363,"thumbUrl":7364,"material":116,"size":7365,"collection":86,"collections":7366,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},222590,"shan-xi-chui-diao-lan-ying-222590","山溪垂钓",[23,24,27,36,230,29,7,31,34,33,175,216,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1348f20030503526ea86f64463499e.jpg","72.1x44",[],{"id":7368,"slug":7369,"title":7370,"dynasty":18,"author":2082,"museum":269,"description":7371,"tags":7372,"thumbUrl":7373,"material":7374,"size":7375,"collection":86,"collections":7376,"showCount":165,"zanCount":592,"manualWeight":11,"mainColor":71},222078,"hu-fu-chun-qing-tu-xie-shi-chen-222078","虎阜春晴图","《明谢时臣虎阜春晴图》是明代画家谢时臣的作品，此画虚实结合，层次分明，笔墨稳健，湿墨渲染，衬托出江南春日胜迹的润郁宜人之色。此图为作者晚年对虎丘写生之作。\n谢时臣的作品笔法酣畅，墨色稳健，气势恢弘，与他同时期的吴门画派诸家的画则气格相对狭小，这更显出谢时臣绘画的魄力之大。但是，如果把他的作品和沈周、文徵明的作品做一比较，就会发现他的作品略显匠气。正如清代姜绍书在《无声诗史》中对谢时臣画的评价：“长卷巨幛，纵横自如，气势有余，韵秀不足。”\n《虎阜春晴》的布局来看，此图既有王蒙层峦叠嶂、构图紧密的绘画特点，又有谢时臣自己的绘画特征。曲折的山间小路和弯曲的流水给画面平添了无限的意趣。这样，欣赏者的目光就可以随之缓缓上移。远处江面开阔，云气缭绕。画面轻灵生动，意境开阔，于大幅之中透露出精致、典雅的格调。\n《图绘宝鉴续纂》称谢时臣的山水画“人物点缀，极其潇洒”。点景人物虽然只是山水画的点缀，不是独立的一种艺术表现形式，但它作为一种特殊的情感表现载体，赋予了山水画更多的思想色彩。它是山水画中必不可少的组成部分，常常具有“点睛”的作用。能否表现好点景人物，是衡量画家艺术水平高低的一个重要因素。由《虎阜春晴》来看，谢时臣不愧为绘制点景人物的能手。全图有近三十个点景人物，虽寥寥数笔，但都神态毕现、栩栩如生。譬如，近景船头有一人，手捧杂物，双腿微曲，正等船靠岸。画家把他等船的专注神情很好地刻画出来。更让人叫绝的是，画家仅用两笔就把远景舟船中的艄公和船客生动地表现出来。",[23,24,27,36,229,215,29,61,30,31,7,32,60,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5a2216ff13e70d6b7a9c5d0713dc22.jpg","纸本、设色","纵162.4厘米，横39.2厘米",[],{"id":7378,"slug":7379,"title":7380,"dynasty":94,"author":5949,"museum":78,"description":7381,"tags":7382,"thumbUrl":7383,"material":7384,"size":7385,"collection":86,"collections":7386,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},221693,"xia-shan-guo-yu-tu-gao-ke-gong-221693","夏山过雨图","画上绘近处树木葱郁，水面波纹忽隐忽现，一蓑翁架着小舟悠然荡于河上，远处山峦起伏，云雾缭绕，画家绘出一幅雨后山青水秀的美景。高克恭，字彦敬，号房山，其所作的《云横秀岭图》精妙绝伦描绘出烟雨林峦的景色。",[23,24,694,27,28,29,7,31,33,142,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc38d444bf3717efb9f2d5f10e4e3b9.jpg","设色绢本","纵25.3公分横26.0公分",[],{"id":7388,"slug":7389,"title":7390,"dynasty":153,"author":7391,"museum":96,"description":7392,"tags":7393,"thumbUrl":7395,"material":100,"size":7396,"collection":42,"collections":7397,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},218877,"liu-ting-fang-zhao-tu-ma-kui-218877","柳汀放棹图","马逵","这幅画描绘了秋季平湖上的月亮，一个高士在芦苇丛中划船，箭头占了半个画面，月亮挂在天上。马奎是马远的兄弟，这幅画显示出两兄弟的笔触相似。",[23,24,27,694,29,7,1526,7394,505,538],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e1e7610a85bed931663d46e28e8be2.jpg","23.1x25.4",[42],{"id":7399,"slug":7400,"title":7401,"dynasty":153,"author":200,"museum":96,"description":7402,"tags":7403,"thumbUrl":7404,"material":100,"size":7405,"collection":42,"collections":7406,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},218817,"feng-xi-gui-zhao-tu-yi-ming-218817","风溪归棹图","树木随着风和天空的音乐起舞。石头下的竹子里藏着一个家，一个船夫正在水流中起航。这幅画中的水墨技法是马远传下来的，树叶都是双钩的，雕工精细，让人仿佛置身于风和浪之中。",[23,24,25,55,230,27,28,29,36,7,31,422,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26509b68407859d99b23ec8fc4e694ad.jpg","23.4x25.9",[42],{"id":7408,"slug":7409,"title":7410,"dynasty":18,"author":7411,"museum":467,"description":7412,"tags":7413,"thumbUrl":7414,"material":100,"size":86,"collection":86,"collections":7415,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":46},218023,"za-hua-ce-7-chen-hong-shou-218023","杂画册-7","陈洪绶","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,25,230,28,36,29,141,84,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff84370318cab5c806b1fc9fabdb42dd.jpg",[],{"id":7417,"slug":7418,"title":7419,"dynasty":109,"author":1350,"museum":490,"description":7171,"tags":7420,"thumbUrl":7421,"material":40,"size":7182,"collection":86,"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，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,25,230,56,28,36,29,7,60,357,34,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61beef2d3bca364fe13fe9aad3fb728c.jpg",[],{"id":7500,"slug":7501,"title":7502,"dynasty":109,"author":7503,"museum":138,"description":7504,"tags":7505,"thumbUrl":7506,"material":233,"size":86,"collection":42,"collections":7507,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},236986,"hua-wang-zi-you-xue-ye-fang-dai-zhou-fei-dan-xu-236986","画王子猷雪夜访戴轴","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[24,25,215,28,57,60,7,550,29,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951170865af0aa8752ff873c504a89af.jpg",[42,68],{"id":7509,"slug":7510,"title":7511,"dynasty":109,"author":7512,"museum":78,"description":7513,"tags":7514,"thumbUrl":7515,"material":359,"size":360,"collection":86,"collections":7516,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},236723,"gai-qi-xi-xi-tan-mei-tu-shan-ye-gai-qi-236723","改琦西溪探梅图扇页","改琦","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[694,24,28,57,1209,7,60,34,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631bf6ee9e5a21de7850f20fcb2ca7ba.jpg",[],{"id":7518,"slug":7519,"title":7520,"dynasty":109,"author":7521,"museum":78,"description":7522,"tags":7523,"thumbUrl":7524,"material":86,"size":7525,"collection":42,"collections":7526,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},236128,"qiu-yan-jin-zhang-tu-zhou-lu-zun-shu-236128","秋岩锦嶂图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[55,24,25,215,28,36,29,34,33,1674,31,30,35,7,2036,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a9573c7805174b3ec58547f426b5d.jpg","纵84.6厘米，横26.5厘米",[42,131],{"id":7528,"slug":7529,"title":7530,"dynasty":109,"author":7531,"museum":78,"description":7532,"tags":7533,"thumbUrl":7536,"material":86,"size":86,"collection":86,"collections":7537,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":71},235677,"qing-shan-hong-shu-tu-zhou-chen-zi-235677","青山红树图轴","陈字","此作用笔苍劲工致，以重墨勾勒山石肌理，皴染结合尽显岩岳雄浑厚重，流云如练缠绕峰腰，将崇山衬得愈发灵秀高古。山间丹枫红树层层叠叠，艳色破开深褐山石的沉郁，撞出深秋浓烈鲜活的意趣。\n右侧江天豁然开朗，波光澹澹间渔翁撑舟徐行，远山含黛，汀洲茅亭隐逸一隅，添就萧散悠然的野趣。整体布局左实右虚，将秋山的浓艳高旷与江湖的清远闲和相融，兼具北派山水的雄强与南宗山水的温婉意境，笔底尽是秋日林泉的静美诗意。",[24,25,215,28,29,36,7534,7535,7,31,32,34,33,143,1506,272],"青山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d14541ecf43948d98b6bf7cc947723c.jpg",[],{"id":7539,"slug":7540,"title":7237,"dynasty":109,"author":500,"museum":138,"description":7238,"tags":7541,"thumbUrl":7542,"material":5265,"size":7083,"collection":86,"collections":7543,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},235003,"yuan-ji-shan-shui-tu-ce-shi-tao-235003",[24,25,230,27,28,29,7,1526,273,505,60,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098b21ce73fa0300f031aec7f760b977.jpg",[],{"id":7545,"slug":7546,"title":7547,"dynasty":109,"author":7548,"museum":78,"description":7549,"tags":7550,"thumbUrl":7551,"material":86,"size":86,"collection":86,"collections":7552,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},234515,"hua-shan-shui-ce-ye-yu-zhi-ding-234515","画山水册页","禹之鼎","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[24,230,28,36,29,60,7,84,306,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf271cd92d9806cb7d3dc662afcf2b1.jpg",[],{"id":7554,"slug":7555,"title":7556,"dynasty":109,"author":5848,"museum":138,"description":7557,"tags":7558,"thumbUrl":7560,"material":177,"size":7561,"collection":86,"collections":7562,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,26,27,57,82,58,60,1686,31,33,996,63,175,29,1581,673,7559,1653,1526,216,7],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":7564,"slug":7565,"title":7566,"dynasty":18,"author":558,"museum":78,"description":7567,"tags":7568,"thumbUrl":7571,"material":86,"size":86,"collection":86,"collections":7572,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":71},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,24,26,27,36,57,29,31,7,216,60,63,33,32,175,996,7569,7570,1686,1723,2085],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":7574,"slug":7575,"title":7576,"dynasty":18,"author":19,"museum":78,"description":7577,"tags":7578,"thumbUrl":7579,"material":86,"size":86,"collection":86,"collections":7580,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,25,26,27,29,30,31,7,32,63,33,37,38,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":7582,"slug":7583,"title":7584,"dynasty":153,"author":200,"museum":78,"description":7585,"tags":7586,"thumbUrl":7588,"material":86,"size":86,"collection":86,"collections":7589,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":71},227893,"yu-le-tu-ye-yi-ming-227893","渔乐图页","这幅小品以虚实相生铺展江渚闲情。右侧江岸苍松虬曲，墨色皴擦间晕染出枝叶蓊郁的清寂意韵，留白处烟霭漫过江天，晕开空濛淡远的朦胧诗意。\n\n水面扁舟轻漾，渔人围坐舟中，姿态松弛悠然，帐幔酒旗随江风微动，将寻常渔居琐事晕染出世外之味。简淡笔墨勾勒人物情态，寥寥数笔便写尽江湖渔隐的闲散日常，将俗世烟火揉入水墨淡彩间。\n\n整体雅致静穆，把宋人寄情林泉的隐逸襟怀藏进烟波里，尽显宋代小品画的诗意意境，将渔家寻常的片刻欢愉，铺陈为悠远淡和的江居雅卷。",[23,24,694,27,28,29,7,7587,60,175,1823,36,58,3869],"苍松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943293d6916514a78dbafe73eefd7416.jpg",[],{"id":7591,"slug":7592,"title":4085,"dynasty":153,"author":200,"museum":78,"description":7593,"tags":7594,"thumbUrl":7597,"material":86,"size":86,"collection":86,"collections":7598,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":71},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,55,24,2326,694,28,27,29,60,61,31,7,1526,273,4957,704,141,7595,2016,2840,7596],"闲寂悠然","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":7600,"slug":7601,"title":6705,"dynasty":153,"author":744,"museum":78,"description":6706,"tags":7602,"thumbUrl":7603,"material":86,"size":86,"collection":86,"collections":7604,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},227771,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227771",[23,55,24,25,26,81,36,27,29,7,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f76f964392cf441413ed6978a2135.jpg",[],{"id":7606,"slug":7607,"title":7608,"dynasty":2508,"author":200,"museum":78,"description":7609,"tags":7610,"thumbUrl":7613,"material":86,"size":86,"collection":86,"collections":7614,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},225303,"fu-shi-hui-28-yi-ming-225303","浮世绘28","这是一幅氤氲着水汽的郊野水乡图景。低缓柔媚的远山晕开暖粉霞光，将清浅暮色揉进青绿坡峦。黛色屋舍错落栖于洲渚，屋畔林木蓊郁苍润，漾开的水波里，一棹扁舟静浮，渔翁独守着满水闲寂。\n\n画面用色清和雅致，平涂晕染间带着侘寂诗意，将郊野日常的闲逸铺陈开来。疏朗的构图里藏着温润安宁，仿佛能漫出水汽与草木清香，把自然村居的禅意融在方寸画间，尽显和风的幽玄雅致。",[7611,7612,28,29,35,246,7,33,273],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07c8c4f0c1a7aba20e07bf3f989d0e3.jpg",[],{"id":7616,"slug":7617,"title":7618,"dynasty":109,"author":500,"museum":78,"description":7619,"tags":7620,"thumbUrl":7621,"material":86,"size":86,"collection":86,"collections":7622,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,25,230,27,28,36,29,7,31,35,33,175,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":7624,"slug":7625,"title":7626,"dynasty":94,"author":1871,"museum":467,"description":7627,"tags":7628,"thumbUrl":7629,"material":588,"size":7630,"collection":42,"collections":7631,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":71},221864,"gu-hu-heng-jiang-tu-zhao-yong-221864","孤隺横江图","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,24,27,28,694,36,29,7,84,60,792,273,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa61b15cb42e538616214b20fadc245b.jpg","26x25cm",[42,68],{"id":7633,"slug":7634,"title":7635,"dynasty":153,"author":7636,"museum":467,"description":7637,"tags":7638,"thumbUrl":7639,"material":1178,"size":7640,"collection":86,"collections":7641,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":7642},221471,"xi-sai-yu-she-tu-juan-li-jie-221471","西塞渔舍图卷","李结","此图为画家李结归隐湖州苕霅西塞山居的理想生活之景。绘丘岭起伏，水碧山青，草木葱茸，沟壑清晰，坡脚石块高低起休，溪水围岸而流。庄园依山傍水，高士放怀得失。李结，字次山，善诗文绘画。",[23,24,25,26,29,175,7,216,31,30,28,36,32,63,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d95a85cebca99604ce1166ce014ea99.jpg","40.2*135.5CM",[],"FDD835",{"id":7644,"slug":7645,"title":7646,"dynasty":153,"author":200,"museum":96,"description":7647,"tags":7648,"thumbUrl":7649,"material":100,"size":7650,"collection":42,"collections":7651,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},218976,"xue-tang-chui-diao-tu-yi-ming-218976","雪塘垂钓图","这是一幅柳宗元诗歌《江雪》的画作，画中的渔夫带着嘀嗒声在江雪的天空中独自捕鱼。心情是空虚和冷漠的，笔触是清晰和减少的。虽然不一定是宋代，但可以追溯到元代。",[23,24,25,230,27,28,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inColor":71},288736,"xiao-xiang-ba-jing-tu-juan-er-wang-hong-288736","潇湘八景图卷二",[55,24,26,27,245,995,33,7,273,1129,7993,2680],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e14357e1abb377052d447c26398dbb0.jpg",[],{"id":7997,"slug":7998,"title":7999,"dynasty":18,"author":200,"museum":78,"description":8000,"tags":8001,"thumbUrl":8002,"material":359,"size":360,"collection":86,"collections":8003,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":71},287835,"fang-xia-gui-qian-yan-jing-xiu-yi-ming-287835","仿夏圭千岩竞秀","此作以长卷铺展江天丘壑，取夏氏边角山水意趣。斧劈皴斫出崖嶂硬峭骨相，苍松杂树偃仰生姿，江岸逶迤，浅渚渔舟隐于烟岚淡墨之间，平远景致虚实相生，将江南山水的清旷空濛揉入简劲笔意。\n\n引首行书笔势跌宕，与山水萧散野逸相映成趣，书画合璧复刻宋韵雅逸，将千里烟景收揽尺幅，观之如乘舟泛江，岩岫秀色次第展开，幽寂旷远的林下风致扑面而来，尽得复古追宋的山水意趣。",[23,24,26,245,28,36,142,1129,7,33,1052,2085,81,37,3814],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49d08c69238c36956940a1b8dc4a08d.jpg",[],{"id":8005,"slug":8006,"title":896,"dynasty":109,"author":8007,"museum":78,"description":8008,"tags":8009,"thumbUrl":8010,"material":359,"size":360,"collection":42,"collections":8011,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},239341,"shan-shui-ce-lin-fu-chang-239341","林福昌","林福昌，男，字海如，吴县（今江苏苏州）人，瑞恩子。善花卉、人物，尤工写照。尝为徐熊庆绘行乐图极精。光绪三年（一八七七）作吴中七老图卷。清未尝为木刻书籍人像。",[24,25,230,27,36,29,7,84,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0be85109e2e631de104cbef1be524d.jpg",[42,68],{"id":8013,"slug":8014,"title":8015,"dynasty":18,"author":8016,"museum":78,"description":8017,"tags":8018,"thumbUrl":8019,"material":359,"size":360,"collection":86,"collections":8020,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},237860,"shan-yu-yu-lai-shan-sheng-mao-ye-237860","山雨欲来扇","盛茂烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[24,694,27,29,422,32,7,36,273,2210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2007bf3773ad1d4d8e8cd8d3a150a885.jpg",[],{"id":8022,"slug":8023,"title":7237,"dynasty":109,"author":500,"museum":78,"description":2150,"tags":8024,"thumbUrl":8026,"material":86,"size":86,"collection":86,"collections":8027,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},237771,"yuan-ji-shan-shui-tu-ce-shi-tao-237771",[24,27,28,230,36,29,7,174,31,141,58,84,575,247,7823,8025,114],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdf2030026657b64f84e1fb3e57e390.jpg",[],{"id":8029,"slug":8030,"title":596,"dynasty":109,"author":8031,"museum":78,"description":8032,"tags":8033,"thumbUrl":8034,"material":86,"size":86,"collection":42,"collections":8035,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},236341,"shan-shui-tu-ce-xiao-yi-yun-236341","萧一芸","萧一芸，清初安徽芜湖人，名画家萧云从之侄。山水参唐寅、沈周，用笔清逸。云从极宠爱之，故能得其真传。云从晚年画多其代笔，观者莫辨。此册八开，或作松屋听泉，或作孤村泛艇；或写山庄密雪，或写危岩夏寒……构境或平淡，或崇高，或险绝，或幽深。皆以枯笔细皴，渴墨密擦，清苍秀润，了无俗韵，是其极精之作。且保存如新，堪赏堪藏。\n萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[24,25,230,28,29,61,7,33,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[42,68,849],{"id":8037,"slug":8038,"title":8039,"dynasty":109,"author":6306,"museum":78,"description":8040,"tags":8041,"thumbUrl":8042,"material":359,"size":360,"collection":86,"collections":8043,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":71},235662,"shan-shui-ping-yuan-jiang-235662","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,229,28,57,29,61,30,31,33,60,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238122f674eb97d8704f7c20926c2a83.jpg",[],{"id":8045,"slug":8046,"title":8047,"dynasty":18,"author":6407,"museum":78,"description":6408,"tags":8048,"thumbUrl":8049,"material":359,"size":360,"collection":86,"collections":8050,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},235205,"lu-ting-di-chang-tu-shan-ye-cheng-jia-sui-235205","芦艇笛唱图扇页",[55,24,25,694,27,28,29,60,7,33,996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e9dfd01fea6f4b5647438d2e21ef354.jpg",[],{"id":8052,"slug":8053,"title":8054,"dynasty":18,"author":200,"museum":78,"description":8055,"tags":8056,"thumbUrl":8057,"material":86,"size":86,"collection":86,"collections":8058,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":71},234691,"ming-ren-xue-jing-shan-shui-ce-ye-yi-ming-234691","明人雪景山水册页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[24,28,29,371,7,174,34,58,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5051c35d93cc31f1ab80646be71c8.jpg",[],{"id":8060,"slug":8061,"title":8062,"dynasty":18,"author":8063,"museum":78,"description":8064,"tags":8065,"thumbUrl":8066,"material":86,"size":86,"collection":86,"collections":8067,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":71},234567,"shan-shui-ren-wu-shan-qian-gong-234567","山水人物扇","钱贡","钱贡（公元16－17世纪初）明代著名画家，字禹方，号沧洲，吴县（今江苏苏州）人。\n山水不甚高雅，而位置可观。善人 物，间仿文、唐两家，却能逼真。万历十四年（一五八六）作山水图，四十年（一六一二）作渔翁乐图，继承南宋刘、李一派及唐寅画法，有仿唐寅人物大幅几能乱真。从艺活动在万历间。\n钱贡画山水“往往出入文征仲太史。”后人曾把他作为文征明门人之高弟。人物则“尤其所长”，“仿唐伯虎大幅，咄咄逼真”，继承了唐寅的人物大幅之风格，所画几可乱真。（《明画录》）\n其作品多旧藏于清宫内，其中录于《石渠宝笈》者甚多。绘画风格颇得清帝青睐，其作乾隆御题者众。\n《明画录》、《无声诗史》、《书史会要》、《中国版画研究重要书目》",[24,694,28,29,60,7,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cf9fc6383b90fab6279bc982778d65.jpg",[],{"id":8069,"slug":8070,"title":8071,"dynasty":109,"author":8072,"museum":138,"description":8073,"tags":8074,"thumbUrl":8075,"material":177,"size":8076,"collection":86,"collections":8077,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","卧游图卷","程正揆","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,26,27,29,36,37,38,58,306,516,33,32,30,31,7,158,35,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":8079,"slug":8080,"title":8081,"dynasty":109,"author":8082,"museum":138,"description":8083,"tags":8084,"thumbUrl":8085,"material":128,"size":86,"collection":86,"collections":8086,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":71},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[55,24,25,26,27,28,29,357,61,30,31,7,32,58,33,35,771,273,1051,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":8088,"slug":8089,"title":8090,"dynasty":18,"author":7411,"museum":138,"description":8091,"tags":8092,"thumbUrl":8093,"material":8094,"size":8095,"collection":86,"collections":8096,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[694,24,25,27,36,29,7,174,34,31,60,58,37,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","金笺，设色","纵16.3厘米，横51.8厘米",[],{"id":8098,"slug":8099,"title":8100,"dynasty":153,"author":200,"museum":138,"description":8101,"tags":8102,"thumbUrl":8103,"material":128,"size":8104,"collection":86,"collections":8105,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},234003,"feng-yu-gui-zhou-ye-yi-ming-234003","风雨归舟页","此图描绘风雨中江边的景象。 风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[24,25,230,27,28,36,29,7,33,34,31,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":8107,"slug":8108,"title":7079,"dynasty":109,"author":500,"museum":138,"description":7080,"tags":8109,"thumbUrl":8110,"material":233,"size":7083,"collection":86,"collections":8111,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},233127,"yuan-ji-shan-shui-ce-shi-tao-233127",[24,25,230,27,28,36,29,7,142,33,35,143,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg",[],{"id":8113,"slug":8114,"title":8115,"dynasty":2508,"author":8116,"museum":78,"description":8117,"tags":8118,"thumbUrl":8119,"material":359,"size":360,"collection":86,"collections":8120,"showCount":7968,"zanCount":592,"manualWeight":11,"mainColor":71},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,25,27,28,29,61,7,31,34,33,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":8122,"slug":8123,"title":8124,"dynasty":2508,"author":200,"museum":78,"description":8125,"tags":8126,"thumbUrl":8128,"material":86,"size":86,"collection":86,"collections":8129,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,25,26,28,57,229,29,60,61,7,216,574,422,880,8127,31,175,30,32],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":8131,"slug":8132,"title":4410,"dynasty":109,"author":1350,"museum":78,"description":8133,"tags":8134,"thumbUrl":8135,"material":86,"size":86,"collection":86,"collections":8136,"showCount":7968,"zanCount":592,"manualWeight":11,"mainColor":46},229015,"fang-gu-shan-shui-ce-wang-hui-229015","此作用浅绛糅合青绿设色，层层铺展山水意趣。近汀杂木错落，渔舟泛于清波，野意悠然；中景山峦叠翠，飞瀑自岩间垂落，山巅古寺隐于葱郁间，藏露得宜；远景江天浩渺，淡墨晕染远山，虚实相生。\n\n笔墨师法元人，皴擦细腻勾勒出山峦肌理，设色雅致柔和，既带着宋画山川的浑厚静穆，又晕染出江南水乡的温润灵秀，师古而不泥古，将仿古意趣与自然生机相融，尽显清丽雅逸的山水意境。",[24,25,230,29,28,36,306,516,32,7,33,158,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0e0cce94c65cffbabf3b95f530cab5.jpg",[],{"id":8138,"slug":8139,"title":8140,"dynasty":18,"author":2249,"museum":78,"description":8141,"tags":8142,"thumbUrl":8143,"material":359,"size":360,"collection":86,"collections":8144,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[23,24,25,26,27,28,29,7,63,33,34,36,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":8146,"slug":8147,"title":8148,"dynasty":18,"author":170,"museum":78,"description":8149,"tags":8150,"thumbUrl":8151,"material":86,"size":86,"collection":86,"collections":8152,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":71},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,24,25,215,27,28,29,661,84,7,31,32,81,36,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":8154,"slug":8155,"title":5601,"dynasty":94,"author":607,"museum":78,"description":8156,"tags":8157,"thumbUrl":8158,"material":86,"size":86,"collection":86,"collections":8159,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},228040,"shan-shui-ye-sheng-mao-228040","此作以咫尺扇面铺展山水清境，近景崖石盘结，苍木层生，干笔皴擦写出岩体苍厚肌理，点染间见林木错落生机。远景以淡墨晕染远山，江天留白处轻舟横渡，晕开烟波浩渺的空寂诗意。\n\n笔墨兼工带写，既承精工之态，又融萧散简淡的意趣，浓淡墨色铺陈出深远空间层次，将林泉幽致藏于方寸之中，尽显文人寄情山水的悠远襟怀，清雅古淡之间，留存山水小品独有的静谧余韵。",[55,24,25,230,27,28,36,29,422,7,273,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d8beb27fb73713a6098a1128fdf4ce.jpg",[],{"id":8161,"slug":8162,"title":8163,"dynasty":94,"author":4730,"museum":78,"description":8164,"tags":8165,"thumbUrl":8166,"material":86,"size":86,"collection":86,"collections":8167,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[24,55,25,215,27,28,36,37,58,29,792,7,33,34,60,142,770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":8169,"slug":8170,"title":8171,"dynasty":153,"author":200,"museum":78,"description":8172,"tags":8173,"thumbUrl":8174,"material":86,"size":86,"collection":86,"collections":8175,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[23,24,25,5254,27,28,29,7,33,2868,31,273,216,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":8177,"slug":8178,"title":8179,"dynasty":153,"author":200,"museum":78,"description":8180,"tags":8181,"thumbUrl":8183,"material":86,"size":86,"collection":8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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,229,57,28,36,29,61,31,272,32,33,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3290d1cf44a39db7be0b227db2e1c5.jpg","纵57cm，横66.1cm",[],{"id":8219,"slug":8220,"title":8221,"dynasty":18,"author":8222,"museum":467,"description":8223,"tags":8224,"thumbUrl":8225,"material":128,"size":8226,"collection":42,"collections":8227,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":71},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[23,24,25,694,28,29,1209,7,357,329,273,422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[42],{"id":8229,"slug":8230,"title":8231,"dynasty":18,"author":8016,"museum":467,"description":8232,"tags":8233,"thumbUrl":8234,"material":128,"size":8235,"collection":86,"collections":8236,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":71},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[23,24,27,28,230,26,36,29,30,31,7,84,446,61,60,58,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 x 30.5",[],{"id":8238,"slug":8239,"title":8240,"dynasty":18,"author":4892,"museum":78,"description":8241,"tags":8242,"thumbUrl":8243,"material":233,"size":8244,"collection":86,"collections":8245,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},222023,"chuan-shan-tu-wen-jia-222023","船山图","文嘉擅山水，似倪瓒，着色山水幽雅恬淡。兼能花卉。",[23,24,29,27,36,84,306,516,7,141,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710b91f69a768b839f2b227ce220d971.jpg","30x72cm",[],{"id":8247,"slug":8248,"title":8249,"dynasty":153,"author":200,"museum":96,"description":8250,"tags":8251,"thumbUrl":8252,"material":128,"size":86,"collection":42,"collections":8253,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},219640,"yi-ting-kan-hong-tu-yi-ming-219640","倚艇看鸿图","此作以边角取景，斜出的古松虬曲苍劲，藤蔓盘绕松身，野趣横生。坡岸石矶错落，幽草杂木点缀其间，白衣幽人倚艇静坐，遥望远空。淡墨晕染的远山与湖面融于空濛烟霭，水天一色愈显清旷悠远。\n\n全作用笔简淡秀雅，以水墨皴擦点染，不见繁复刻画，却将江南水滨的萧散清寂晕染尽致。幽人观鸿的闲寂之态，暗合宋人林泉高致的雅趣，咫尺团扇之间，藏着江湖林下的阔远襟怀，尽显宋代山水小品以小见大、以简胜繁的意境之美。",[23,24,25,694,27,36,29,84,141,63,7,505,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6dabe5d6d95427c3f91f0cba98543ed.jpg",[42],{"id":8255,"slug":8256,"title":8257,"dynasty":1551,"author":1552,"museum":78,"description":8258,"tags":8259,"thumbUrl":8260,"material":249,"size":86,"collection":86,"collections":8261,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":46},218171,"da-qian-kuang-tu-ce-7-zhang-da-qian-218171","大千狂涂册-7","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,25,27,36,29,61,7,30,33,34,143,37,5254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38b0ac6496c4186a00a1231e8058da.jpg",[],{"id":8263,"slug":8264,"title":8265,"dynasty":5531,"author":1803,"museum":20,"description":8266,"tags":8267,"thumbUrl":8268,"material":86,"size":86,"collection":42,"collections":8269,"showCount":7968,"zanCount":11,"manualWeight":11,"mainColor":8270},202999,"jie-wu-qiu-yan-tu-zhou-huang-bin-hong-202999","结屋秋烟图轴","秋烟漫笼的层峦间，茅屋依岩而筑，溪涧绕石流淌。山石以苍劲皴笔勾勒，枯湿浓墨交织出浑厚质感；虬曲老树傍水而立，枝桠疏朗带秋意。小桥横跨溪上，孤舟静泊浅滩，处处透着幽居的清寂。笔墨兼用积墨、破墨之法，墨色晕染中见层次，丘壑间藏灵动，尽显山水的深邃与空濛之美。",[29,36,27,7,30,84,34,32,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a92107bcb6dac2dbecbe0d2ff0115.jpg",[42],"cbc4b7",{"id":8272,"slug":8273,"title":8274,"dynasty":109,"author":5638,"museum":78,"description":5639,"tags":8275,"thumbUrl":8276,"material":86,"size":86,"collection":42,"collections":8277,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},238414,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238414","董诰蓬壶荟胜图册",[24,28,29,230,36,142,33,35,7,143,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b57bd7c4262f4b634c1cac62844ecf.jpg",[42,68],15,{"id":8280,"slug":8281,"title":7805,"dynasty":109,"author":4120,"museum":78,"description":8282,"tags":8283,"thumbUrl":8284,"material":359,"size":360,"collection":86,"collections":8285,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},237615,"hong-ren-shan-shui-ce-hong-ren-237615","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[55,24,25,230,27,36,29,7,142,33,246,1107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad22d0932b85effa43f3ae60f6e208d.jpg",[],{"id":8287,"slug":8288,"title":896,"dynasty":109,"author":1103,"museum":3247,"description":7028,"tags":8289,"thumbUrl":8290,"material":86,"size":86,"collection":42,"collections":8291,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},236737,"shan-shui-ce-hua-yan-236737",[24,230,27,36,37,58,29,141,7,481,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b1906b09e35a616d2a87598efa8e.jpg",[42,131],{"id":8293,"slug":8294,"title":8295,"dynasty":18,"author":6407,"museum":78,"description":6408,"tags":8296,"thumbUrl":8297,"material":359,"size":360,"collection":86,"collections":8298,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":71},236674,"feng-yu-gui-zhou-shan-cheng-jia-sui-236674","风雨归舟扇",[694,27,36,29,7,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f836136c780bcfcd7ed38e8f68a3d9.jpg",[],{"id":8300,"slug":8301,"title":8302,"dynasty":18,"author":7411,"museum":78,"description":8303,"tags":8304,"thumbUrl":8305,"material":359,"size":360,"collection":86,"collections":8306,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},235834,"qiu-jiang-fan-ting-tu-shan-ye-chen-hong-shou-235834","秋江泛艇图扇页","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,694,28,29,33,31,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59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朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,25,230,27,29,7,84,31,141,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc84bebdcb3c8a0368bf20a1a97b797.jpg","23.2厘米，横28厘米",[],{"id":8341,"slug":8342,"title":8343,"dynasty":18,"author":170,"museum":78,"description":8344,"tags":8345,"thumbUrl":8346,"material":359,"size":360,"collection":86,"collections":8347,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},234707,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234707","仿黄公望山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[24,25,694,29,27,36,7,34,33,273,1030,247,5472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c6b2ad4920afc675476c281ad0a6d.jpg",[],{"id":8349,"slug":8350,"title":8351,"dynasty":18,"author":170,"museum":78,"description":8352,"tags":8353,"thumbUrl":8354,"material":86,"size":86,"collection":86,"collections":8355,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},234628,"fang-fan-kuan-shan-shui-shan-ye-lan-ying-234628","仿范宽山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[694,27,36,81,29,7,32,174,34,273,60,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc72bbb506c453f91f6e75f20782db.jpg",[],{"id":8357,"slug":8358,"title":6840,"dynasty":18,"author":170,"museum":138,"description":8352,"tags":8359,"thumbUrl":8360,"material":86,"size":86,"collection":86,"collections":8361,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":71},234477,"shan-shui-shan-ye-lan-ying-234477",[694,24,29,27,28,36,34,33,31,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5eef4e9e844dc82ec6dd66dffe0f98.jpg",[],{"id":8363,"slug":8364,"title":7789,"dynasty":109,"author":8365,"museum":138,"description":8366,"tags":8367,"thumbUrl":8368,"material":8369,"size":8370,"collection":86,"collections":8371,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},233400,"shan-shui-ren-wu-ce-jin-nong-233400","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,230,27,28,82,29,60,7,31,217,84,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719bb0fb0ca34e2f5d64acbe64f13589.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":8373,"slug":8374,"title":8375,"dynasty":18,"author":2317,"museum":78,"description":8376,"tags":8377,"thumbUrl":8378,"material":86,"size":86,"collection":86,"collections":8379,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,26,27,36,38,58,29,272,33,34,32,7,31,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":8381,"slug":8382,"title":8383,"dynasty":2508,"author":8384,"museum":78,"description":8385,"tags":8386,"thumbUrl":8388,"material":359,"size":360,"collection":86,"collections":8389,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},230490,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-er-ping-yun-gu-deng-yan-230490","安土桃山 山水图屏风-第二屏","云谷等颜","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[23,24,25,27,29,7,36,8387],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2406d05eb8ab3e40711e141a4a8b0f6.jpg",[],{"id":8391,"slug":8392,"title":8393,"dynasty":18,"author":3572,"museum":78,"description":8394,"tags":8395,"thumbUrl":8396,"material":86,"size":86,"collection":86,"collections":8397,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":71},228310,"min-you-tu-xiang-sheng-mo-228310","闽游图","此作以平远长卷铺展江天胜景，江波婉转，矶岩错落百态，或嶙峋如剑，或浑朴似卧牛，尽现山水奇崛灵动之姿。山间村舍错落，江上扁舟泛波，旅人、渔者隐于林泉，烟火意趣暗藏苍莽丘壑之中。用笔清劲秀逸，淡墨晕染出空濛悠远的氤氲气韵，将漫游所见的山水奇景与乡野闲趣融为一体，以文人视角定格千里江川的悠然意致，尽显清雅苍润的山水格调。",[23,24,25,26,27,28,36,29,34,33,61,30,31,7,32,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56cb2f0f807be7ba59799de60f9c362.jpg",[],{"id":8399,"slug":8400,"title":8401,"dynasty":94,"author":6496,"museum":78,"description":8402,"tags":8403,"thumbUrl":8404,"material":86,"size":86,"collection":86,"collections":8405,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,24,25,26,27,38,203,37,36,58,29,7,32,33,34,143,31,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":8407,"slug":8408,"title":299,"dynasty":109,"author":8409,"museum":78,"description":8410,"tags":8411,"thumbUrl":8412,"material":359,"size":360,"collection":86,"collections":8413,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":840},224207,"chi-bi-fu-he-shuo-cheng-qin-wang-224207","和硕成亲王","和硕成亲王，清朝世袭亲王。乾隆五十四年（1789年），乾隆帝皇十一子永瑆封亲王，封号成，死后谥号哲，未得世袭罔替，每次袭封需递降一级，一共传了七代七位。",[37,38,303,792,7,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f0f199d842a0bb46fc33498c196171.jpg",[],{"id":8415,"slug":8416,"title":8417,"dynasty":109,"author":200,"museum":78,"description":8418,"tags":8419,"thumbUrl":8420,"material":86,"size":86,"collection":86,"collections":8421,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},223527,"wu-yi-shan-shi-ba-jing-tu-2-yi-ming-223527","武夷山十八景图2","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,25,27,29,36,7,34,33,246,230,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0a6154bc08a6564afd5a91ee205e4b.jpg",[],{"id":8423,"slug":8424,"title":8425,"dynasty":18,"author":6142,"museum":96,"description":8426,"tags":8427,"thumbUrl":8428,"material":86,"size":86,"collection":86,"collections":8429,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},222859,"shan-shui-he-ji-juan-song-xu-222859","山水合迹卷","宋旭(1525-1606年后)，字初旸，号石门、石门山人，后为僧，法名祖玄，又号天池发僧、景西居士。浙江嘉兴人，清代《图绘宝鉴续纂》一作湖州(今浙江吴兴)人，居松江。工山水，兼长人物。师法“吴门四家”之一的沈周，画风似沈氏而又独具个性，亦宗法巨然、王蒙。其山水高华苍蔚，笔墨苍劲古朴，意境幽深，所作巨幅大幛，气势磅礴，开“苏松画派”之先声，万历年间名重海内。宋旭曾与“华亭派”画家莫廷韩(1537-1587年)入芟山社绘白雀寺壁，时称妙绝。宋旭遁入佛门以后，隐居佛寺，潜通禅理，一生画笔不辍，八十一岁时尚绘《平沙落雁图》轴，清逸传神，传为美谈。",[23,24,26,27,29,36,7,63,34,273,505,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4617bfcb74ed5bc94d043330825ed7e6.jpg",[],{"id":8431,"slug":8432,"title":8433,"dynasty":153,"author":4210,"museum":269,"description":8434,"tags":8435,"thumbUrl":8436,"material":1178,"size":8437,"collection":86,"collections":8438,"showCount":8278,"zanCount":11,"manualWeight":11,"mainColor":46},221672,"lian-zhou-xin-yue-tu-quan-juan-zhao-bo-ju-221672","莲舟新月图全卷","此卷整体画面以色彩渲染，着色清丽,内容描写的北宋著名理学家周敦颐爱莲的故事。画面人物精神清润，能别状貌。柳树旁的两棵对称式的野花，以及坡石上的点苔都极富装饰趣味。",[23,55,24,25,26,56,28,57,38,37,58,29,3853,7,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b08ce584a2b3aee32d00009daf8bd9.jpg","24.2x591.8cm",[],{"id":8440,"slug":8441,"title":8442,"dynasty":18,"author":4411,"museum":733,"description":4412,"tags":8443,"thumbUrl":8444,"material":40,"size":4415,"collection":86,"collections":8445,"showCount":8278,"zanCount":592,"manualWeight":11,"mainColor":46},219668,"fang-gu-shan-shui-ce-10-yun-xiang-219668","仿古山水册-10",[24,25,230,28,29,306,516,7,32,63,31,422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc65869df66acee4b37c2efa671cbf9.jpg",[],{"id":8447,"slug":8448,"title":8449,"dynasty":153,"author":200,"museum":96,"description":8450,"tags":8451,"thumbUrl":8452,"material":100,"size":8453,"collection":42,"collections":8454,"showCount":8278,"zanCount":592,"manualWeight":11,"mainColor":46},218846,"qing-xi-wan-du-tu-yi-ming-218846","清溪晚渡图","这幅画描绘了一个船夫在日落时分回家休息的情景，风景开阔，意境清远。在这幅画中，笔触更加平直，少了些许杂质，这是效仿夏圭的做法。",[23,24,25,230,27,36,28,29,31,7,216,33,481,175,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba687b7e6c7bcc95dbb8bab0b4918ba.jpg","22.8x23.8",[42],{"id":8456,"slug":8457,"title":8458,"dynasty":18,"author":200,"museum":78,"description":8459,"tags":8460,"thumbUrl":8461,"material":359,"size":360,"collection":86,"collections":8462,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},290980,"ming-ren-liu-an-cun-she-yi-ming-290980","明人柳岸村舍","薄雾轻笼远山，黛色融在烟岚里，晕作朦胧柔色。近岸柳丝垂曳，枯荣相杂的林木环着村舍，黛瓦矮墙隐在深浅绿意中，藏起乡野人家的日常。\n\n柔波漾着春水，三两渔人泛扁舟，持篙摇橹，把清寂春晨揉出淡淡烟火气。\n\n整幅以青绿设色，绢本底色晕开雅致石青石绿，色调柔和恬淡，无浓烈铺陈，只以浅淡晕染写尽江南水村的春日清宁。笔触秀雅细腻，绘林木错落随性，勾水波轻细灵动，将乡野安然藏在尺幅间，带着温婉闲逸的意趣，把江南水乡的慵懒春日定格于绢素之上，尽显平和悠远的林下清思。",[24,29,230,56,28,950,1526,31,7,33,175,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17be9d15578f72df9e8a41dddd847a5c.jpg",[],{"id":8464,"slug":8465,"title":8466,"dynasty":94,"author":8467,"museum":78,"description":8468,"tags":8469,"thumbUrl":8472,"material":359,"size":360,"collection":86,"collections":8473,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},290584,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhou-zhang-yu-290584","仿郑虔林亭秋爽图轴","张雨","张雨（1277年-1348年），又名天雨，字伯雨，法名嗣真，别号贞居，又号句曲外史，钱塘（今浙江杭州）人，元朝茅山宗道士。年二十遍游天台、括苍诸山。",[24,215,27,36,29,32,84,661,31,7,34,60,1082,37,58,8470,8471],"雅集","清爽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe127da8e79914605105f333311b13207.jpg",[],{"id":8475,"slug":8476,"title":8477,"dynasty":94,"author":4103,"museum":78,"description":8478,"tags":8479,"thumbUrl":8480,"material":359,"size":360,"collection":86,"collections":8481,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},290261,"shan-shui-tu-zhou-ke-luo-ban-fang-cong-yi-290261","山水图轴（珂罗版）","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[23,24,55,215,27,29,141,31,7,61,33,143,36,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e173a9c7c9e329ac11f95e51162b3a.jpg",[],{"id":8483,"slug":8484,"title":8485,"dynasty":109,"author":200,"museum":78,"description":8486,"tags":8487,"thumbUrl":8489,"material":359,"size":360,"collection":86,"collections":8490,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},290178,"shao-shu-min-zu-sheng-huo-xi-su-hua-ce-2-yi-ming-290178","少数民族生活习俗画册-2","画面分作山居、水乡两幕，淡设色晕染出清润灵秀的边地烟岚。左岸负薪男子与盛装女子作别，苗家女子的衣纹银饰纤毫尽显，憨朴情态跃然纸上。右岸垂柳依依，撑舟艄公引着持伞客人，岸边二人持伞候渡，悠然漾开乡野烟火气。\n整幅工写兼具，笔致温婉恬淡，留白处题字衬出人文意韵。并未将边地风物猎奇化，只是平实地描摹族群日常晨昏，将送别候渡的细碎日常晕染成诗意乡景，把边地质朴鲜活的生活情态凝于纸间，藏着独有的纪实温情。",[23,24,230,28,57,60,29,7,1526,357,1723,8488,37],"少数民族生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbw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30cm",[],{"id":8639,"slug":8640,"title":3160,"dynasty":18,"author":6363,"museum":96,"description":8641,"tags":8642,"thumbUrl":8643,"material":2929,"size":8644,"collection":86,"collections":8645,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":71},231380,"xue-ye-fang-dai-tu-zhou-wen-jing-231380","此图画东晋王徽之雪夜乘舟访问朋友戴达的故事。王徽之，东晋琅玡临沂(今属山东)人，字子猷，王羲之之子。曾任桓温的参军，性格浪漫，联拘小节。居山阴（今浙江绍兴）时，夜大雪，眠觉开室命酌酒。四望皎然，因乐彷徨，咏左思《招隐诗》，忽忆戴安道（戴达）。时戴在剡（今浙江嵊州），便夜乘小船就之。经宿方至，造门不前而返。人问其故，王曰：[吾本乘兴而行，兴尽而返，何必见戴？]该幅即画此故事分情节。用笔老辣，烘染精到，设色雅淡。\n该画表现的是晋朝王徽之的故事。故事为某夜徽之于梦中醒来，见雪后初霁，月色皎洁，突然萌发拜访好友戴逵的念头。于是，不顾路遥夜深，雇船前往。但到了目的地，徽之又放弃了与戴逵见面的打算，沿江返回。别人不解地问他为何这么做，他说：“乘兴而来，兴尽而返，岂必见安道耶?”正因为他与戴逵都是性情中人，卓荦不羁，故两人的友谊好像也升华为形而上的境界。在徽之看来，友谊重在心中而非形式，见面与否了无差别。这种带有禅意的观点被传为佳话，并且成为后世画家笔下喜欢表现的题材。\n《雪夜访戴》图中，一只小船行驶在江面，站在船头、船尾的梢公奋力地划着；船上蓬中透着微弱的灯光，显见夜色已深；蓬外有一童仆，蓬内的人大概就是王徽之了。全画构图简约旷远，用笔虚多实少，着力于对“夜访”主题的渲染，营造了画面的气氛：近处墨色较深，远处墨色朦胧，坡岸上及被夜色遮掩的茅屋顶上覆盖着白雪，虚灵空潆的笔调，显示出雪夜的寂静和寒冷，真是一幅令人心旷神怡的雪夜行舟图。画中山、石、树木的处理，有马远的笔法，而积雪则有元人韵味。",[24,29,215,27,36,7,60,174,997,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a3c7b82a51466d66d727a37a78efe2.jpg","纵：161.5，横：93.9厘米",[],{"id":8647,"slug":8648,"title":8649,"dynasty":94,"author":200,"museum":78,"description":8650,"tags":8651,"thumbUrl":8653,"material":86,"size":86,"collection":86,"collections":8654,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},228249,"lao-shu-wu-ya-tu-yi-ming-228249","老树乌鸦图","这幅山水以淡墨晕染出空阔秋水，汀渚横陈，水汽如薄纱漫过江天。滩头老树枯槎盘虬，枝桠无叶，孑然伫立在寒渚之上，将深秋江野的荒寂尽数铺展。\n\n画师以简驭繁，不用繁复皴擦，以水墨晕染造境，留白衬出江天寥廓，将元代文人萧索幽微的心境寄寓其间，淡墨里藏着清寂，枯枝中凝着怅惘，把寒江晚景的萧寒逸趣写尽，淡而愈远，枯而弥长。",[23,24,25,26,27,36,29,84,8652,7],"乌鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302366aef14e011720d4f3e96ae9223f.jpg",[],{"id":8656,"slug":8657,"title":8658,"dynasty":153,"author":6417,"museum":78,"description":8659,"tags":8660,"thumbUrl":8661,"material":86,"size":86,"collection":86,"collections":8662,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":71},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,24,25,230,27,29,370,305,174,504,7,175,36,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":8664,"slug":8665,"title":8666,"dynasty":2508,"author":8667,"museum":78,"description":8668,"tags":8669,"thumbUrl":8673,"material":359,"size":360,"collection":8674,"collections":8675,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},225831,"the-langlois-bridge-march-fan-gao-225831","The Langlois bridge (March - )","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。",[55,8670,28,30,31,7,1779,1109,60,35,33,8671,8672],"油画","笔触奔放","后印象派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd318fc35b367994358e3cf58d7e0426.jpg","油画精选",[8674],{"id":8677,"slug":8678,"title":8679,"dynasty":153,"author":200,"museum":78,"description":8680,"tags":8681,"thumbUrl":8682,"material":86,"size":86,"collection":86,"collections":8683,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":71},223634,"lian-zhou-xian-du-tu-yi-ming-223634","莲舟仙渡图","烟波浩渺间，仙人卧于莲舟，悠然展卷观览，似将云水清光尽数揽入卷中。右下角巉岩隐现，灵蛇蜿蜒而出，衬得水面愈发幽寂空灵。\n\n整幅以淡墨轻敷，留白晕染出氤氲水雾，将虚无仙境融于简淡笔意，摒弃浓艳设色，全凭清润色调烘托世外幽居的静穆氛围。仙人姿态萧散自在，不见凡尘烟火气，莲舟如扁槎一叶，载着出尘之思浮游烟涛，把道家归返自然、寄迹云山的隐逸意趣藏在水色晕染里，淡而弥远，清而有味，尽显小品画的雅致空灵。",[23,55,24,25,28,57,36,60,7,29,3999,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885e41a3f8ad783f659bb4ddce07b10f.jpg",[],{"id":8685,"slug":8686,"title":8687,"dynasty":109,"author":1007,"museum":20,"description":8688,"tags":8689,"thumbUrl":8690,"material":1861,"size":8691,"collection":86,"collections":8692,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},222614,"shan-shui-ba-jing-4-gong-xian-222614","山水八景-4","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,24,27,36,29,422,329,7,2559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c657c37d420a6e6b5f70b56085e2c.jpg","纵24.4 厘米 横49.7 厘米",[],{"id":8694,"slug":8695,"title":8696,"dynasty":18,"author":2249,"museum":526,"description":8697,"tags":8698,"thumbUrl":8699,"material":4734,"size":8700,"collection":86,"collections":8701,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},222224,"si-wan-shan-shui-tu-wan-qing-qing-bo-wen-bo-ren-222224","四万山水图-万顷晴波","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,25,215,27,36,29,7,63,33,158,3884,996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c610a6dfca13ab7aee91938ded7bf.jpg","48X123cm",[],{"id":8703,"slug":8704,"title":947,"dynasty":18,"author":3138,"museum":96,"description":3139,"tags":8705,"thumbUrl":8706,"material":128,"size":8707,"collection":86,"collections":8708,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":71},222159,"shan-zhuang-gao-yi-zhou-li-zai-222159",[23,24,245,215,27,36,306,516,30,31,7,32,61,661,84,60,272,231,446,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9606b6f97673ebd0ca6b1996030ab49.jpg","纵188.8cm、横109.1cm",[],{"id":8710,"slug":8711,"title":8712,"dynasty":109,"author":500,"museum":733,"description":734,"tags":8713,"thumbUrl":8714,"material":40,"size":86,"collection":86,"collections":8715,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":46},214524,"yi-jin-ling-ce-10-shi-tao-214524","忆金陵册-10",[24,27,29,30,7,84,36,230,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddf28697a603132b907edcc82b620ba.jpg",[],{"id":8717,"slug":8718,"title":8719,"dynasty":5531,"author":8720,"museum":20,"description":8721,"tags":8722,"thumbUrl":8723,"material":86,"size":86,"collection":42,"collections":8724,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":8725},203124,"zhou-po-ya-shan-tu-zhou-he-xiang-ning-203124","舟泊崖山图轴","何香凝","近岸嶙峋石矶上，老树虬枝与垂柳相映，苍劲中含柔态。崖畔孤舟静泊，似承天地之寂。远山巍峨，云雾轻笼如纱，水墨晕染出空濛悠远之境。写意笔法简练传神，山石皴擦见肌理，树木线条灵动，融山水静谧与文人意趣于一纸，尽显自然清韵与心境之宁。",[24,27,29,7,84,36,215,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e386975d81e8f789975e7eecaf1f87a.jpg",[42],"cfc6b7",{"id":8727,"slug":8728,"title":8729,"dynasty":5531,"author":8730,"museum":20,"description":8731,"tags":8732,"thumbUrl":8733,"material":86,"size":86,"collection":42,"collections":8734,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":8735},202935,"dong-ting-qiu-ji-tu-zhou-zheng-wu-chang-202935","洞庭秋霁图轴","郑午昌","画面铺展洞庭秋晴之境，近景苍松虬劲，红叶点染秋意，枯木疏朗有致；中景湖面开阔，孤舟泛波，飞鸟列阵掠过水面，添灵动之趣；远景层岩叠嶂，云雾轻笼，山势悠远。笔墨兼具传统意趣与现代气息，皴擦点染间尽显山石林木质感，设色雅致，红树与墨松相映，冷暖交融。整体意境清旷淡远，既有自然之静谧，又含文人之雅怀，传递出秋日洞庭雨后初霁的澄澈与疏朗。",[24,29,28,7,63,357,36,1674,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80d78fc5407a6f5d622026d07fdb070.jpg",[42],"cfc4b3",{"id":8737,"slug":8738,"title":8739,"dynasty":109,"author":8740,"museum":20,"description":8741,"tags":8742,"thumbUrl":8744,"material":86,"size":86,"collection":42,"collections":8745,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":8746},202186,"dong-ting-qiu-yue-tu-zhou-wang-su-202186","洞庭秋月图轴","王愫","这幅画作以淡雅笔墨铺陈洞庭秋夜之境。陡峭山崖以细腻皴法勾勒纹理，枯树虬枝点缀其间，尽显秋意萧瑟。开阔水面波光隐现，远处飞鸟掠空，添灵动之韵。右下角小屋傍树而立，与自然相融，透出隐逸闲趣。整体色调清寒，虽未直绘秋月，却以空濛清旷的氛围烘托出月色皎洁，意境悠远宁静。笔墨层次丰富，山石用墨浓淡相宜，草木勾勒简练传神，尽显画家功底。构图疏密有致，左密右疏、虚实相生，将洞庭湖畔的秋夜寂寥与月色清辉完美融合，引人沉醉。",[27,36,29,7,63,504,174,505,8743,1818,23],"清旷意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8ff5c3d6aa85680f47b2d34af0767a.jpg",[42],"b2a58f",{"id":8748,"slug":8749,"title":8750,"dynasty":18,"author":8751,"museum":20,"description":8752,"tags":8753,"thumbUrl":8754,"material":86,"size":86,"collection":42,"collections":8755,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":8756},202167,"shang-qiu-tu-zhou-chen-guan-202167","赏秋图轴","陈祼","画面开篇巨岩巍峨，皴法勾勒出苍劲肌理。中部林木交织，红叶点染秋韵，枯树与松竹相映，层次鲜活。坡岸巨石卧波，亭榭隐于竹丛，小径蜿蜒。左侧江面开阔，孤舟泛流，远树烟蒙，尽显秋江闲逸。笔墨细腻，设色淡雅，文人赏秋的悠然心境与山水交融，意境清寂诗意盎然。",[24,29,28,36,84,7,32,550,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ca8d0480d79946e619e9deba9bfadd.jpg",[42],"928067",{"id":8758,"slug":8759,"title":8760,"dynasty":109,"author":8761,"museum":20,"description":8762,"tags":8763,"thumbUrl":8765,"material":86,"size":86,"collection":42,"collections":8766,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":8767},202113,"jiang-gan-wan-po-tu-zhou-fang-xun-202113","江干晚泊图轴","方薰","暮色漫过江波，远峰朦胧如幻，近岸巨石崚嶒，老松盘曲其上，枝桠间漏出檐角。水面孤舟静泊，似待归人，笔墨清雅疏淡，山石以皴法写其肌理，树木枝干虬劲，松针点染细密，尽显苍古之态。整幅画意境清寂悠远，藏着江干晚泊的悠然意趣，是清代文人山水的雅致之作。",[24,27,29,7,36,34,33,61,8764,23],"江干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabac7a1d82d9370a8d5750e94d0c2707.jpg",[42],"d1c2af",{"id":8769,"slug":8770,"title":8771,"dynasty":18,"author":19,"museum":20,"description":8772,"tags":8773,"thumbUrl":8774,"material":86,"size":86,"collection":42,"collections":8775,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":8776},201558,"jiang-nan-feng-jing-tu-juan-shen-zhou-201558","江南风景图卷","画面以水墨皴染铺展江南景致，峰峦用披麻皴勾勒，线条苍劲灵动，林木点染秀润有致。溪流蜿蜒穿涧，小桥横卧波上，孤舟泛于清涟，屋舍隐于烟树间，亭台点缀山麓，尽显江南水乡的温婉静谧与田园生机。笔墨兼具雄浑与秀雅，意境淡远清幽，似将烟雨江南的朦胧诗意融于一卷，观之如沐春风，可感文人画的雅致意趣与山水灵韵。",[24,26,29,27,36,30,31,7,32,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb52a795e39b7a021c8b1c516c684b2e.jpg",[42],"b6b0a5",{"id":8778,"slug":8779,"title":8780,"dynasty":94,"author":4730,"museum":96,"description":8781,"tags":8782,"thumbUrl":8783,"material":249,"size":8784,"collection":86,"collections":8785,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},290939,"qiu-lin-diao-ting-tu-ma-wan-290939","秋林钓艇图","该幅画秋林钓艇，马琬以章草题款，笔法工整。幅上另有陶宗仪隶书题识，正方结字与方笔折刀法，显见魏晋隶书影响。马氏章草与陶氏隶书均以规矩均整见长，充分反映元代之复古书风，与明初云间书家之于古法中求变，颇异其趣。 释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[55,24,25,215,27,29,5426,7,31,5798,2669,1082,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":8787,"slug":8788,"title":8789,"dynasty":153,"author":6979,"museum":78,"description":8790,"tags":8791,"thumbUrl":8792,"material":359,"size":360,"collection":86,"collections":8793,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},289946,"jiang-ting-lan-sheng-tu-zhang-xun-li-289946","江亭揽胜图","松下一亭子，\n凭栏观江景。\n江上渔舟荡，\n远方山魅影。",[694,24,55,25,29,27,28,32,7,792,273,357,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0181bf5435b11285dd064c91fa37c7f4.jpg",[],{"id":8795,"slug":8796,"title":8797,"dynasty":109,"author":8798,"museum":78,"description":8799,"tags":8800,"thumbUrl":8802,"material":359,"size":360,"collection":86,"collections":8803,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},289916,"du-fu-shi-yi-tu-quan-juan-ding-guan-peng-289916","杜甫诗意图全卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,26,27,29,60,7,1052,303,33,34,37,58,8801],"诗意图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853d9da5c5ea3102b3bf5f6ad2f01a39.jpg",[],{"id":8805,"slug":8806,"title":8807,"dynasty":153,"author":2925,"museum":96,"description":8808,"tags":8809,"thumbUrl":8810,"material":100,"size":8811,"collection":86,"collections":8812,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":71},289378,"liu-xi-chun-fang-tu-ma-he-zhi-289378","柳溪春舫图","图绘崖壁柳荫，溪水垂柳，船坞码头，湖水盈盈，舂舫一艘，高士独游，妙诗新间，赞喻河山。这是马和之的一幅传世山水画代表作。款署“和之”。钤印一，模糊不可识。收传印记，有“朱之赤鉴赏”、“晴窗宝玩”、“子京”、“墨林山人”、“蕉林”及清乾隆诸玺等。\n这幅《柳溪春舫图》的特点是“简逸”而神旷，图中的山只画悬崖峭壁一面，只见山势高大，而毫无挺拔之感；画柳，不管是峭壁上的柳荫，还是溪边的垂柳，同样感到有随风飘逸之感；画水，水波纹轻轻波动，也有飘逸之感；画舫，在水上也显得轻快飘逸；画人，高士独自游览，轻松愉快；船工轻轻摇橹，船只就能随水推进。总之，这是作者在此画中体现了他的运笔使转灵活无一直经的板重之笔，这是作者来自于仿吴道子法，谓“蚂蝗描”的笔法，这种画法上的“简逸”，其实不仅仅可以理解为技巧的外形描述，还可以理解为一种新的技法意识观念的开始。图为当时南宋初，画家都以繁密写实为多见，所以不足为奇。要是像马和之那样简逸倒是一奇，如果简逸而又意趣，那就更是奇怪之至了。这幅可算是他的“简逸”画风的一作吧。",[24,55,245,28,217,31,7,60,61,34,58,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657dea8e4aeb1713baaff8a6dca12c9.jpg","36.7x51.4",[],{"id":8814,"slug":8815,"title":8816,"dynasty":94,"author":3340,"museum":78,"description":8817,"tags":8818,"thumbUrl":8819,"material":359,"size":360,"collection":86,"collections":8820,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},287552,"qing-chuan-song-ke-tu-zhao-yuan-287552","晴川送客图","赵原，中国元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。",[55,24,25,215,27,36,29,31,7,60,33,141,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb486fbd110d78380ab0e715e10494e.jpg",[],{"id":8822,"slug":8823,"title":8824,"dynasty":18,"author":1514,"museum":78,"description":8825,"tags":8826,"thumbUrl":8827,"material":359,"size":360,"collection":86,"collections":8828,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":71},283643,"mo-bi-shan-shui-tu-wang-fu-283643","墨笔山水图","王绂(wángfú)， 明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[55,24,25,215,27,29,7,31,141,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e1464e21e776c0b4325fbe0aacdb67.jpg",[],{"id":8830,"slug":8831,"title":8832,"dynasty":109,"author":8082,"museum":78,"description":8833,"tags":8834,"thumbUrl":8835,"material":86,"size":86,"collection":319,"collections":8836,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},239133,"shan-shui-he-hui-ce-zhang-zong-cang-239133","山水合绘册","近景枯干托举丹红秋叶，醒目前方，墨色林木层叠错落，将视线引向开阔江面。水面留白晕染出烟波空濛，扁舟随波轻漾，淡笔点出汀渚浅草，柔化水岸边界。远景木桥横陈，三两隐于暮色的人物，极简勾勒便添烟火生趣。\n\n干湿墨色交织，苍劲苔点写出林木郁茂，留白水面和淡墨远山形成虚实对照，带着清寂悠缓的秋日江居意趣，笔底藏着温润的山野闲情，将江南秋江的淡远萧疏尽数铺陈，简淡笔触里意蕴悠长，静立仿佛便能走入这幅秋水栖迟的幽境之中。",[24,25,230,27,28,29,422,1674,7,30,31,273,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18439d1381c9000bc273effce1c63224.jpg",[319,68],{"id":8838,"slug":8839,"title":896,"dynasty":109,"author":6119,"museum":78,"description":8840,"tags":8841,"thumbUrl":8842,"material":86,"size":86,"collection":86,"collections":8843,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},238146,"shan-shui-ce-yun-xi-238146","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,28,36,230,27,29,7,31,30,34,33,35,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56aea8fd244e7dbad2bb6f33aeaf0fe.jpg",[],{"id":8845,"slug":8846,"title":8847,"dynasty":109,"author":1350,"museum":78,"description":2309,"tags":8848,"thumbUrl":8849,"material":86,"size":86,"collection":42,"collections":8850,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},237883,"hua-yang-meng-zai-shi-yi-zhou-wang-hui-237883","画杨孟载诗意轴",[55,24,25,215,27,36,29,141,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd198bc536ace8ae72b28621379a6632.jpg",[42],{"id":8852,"slug":8853,"title":7765,"dynasty":109,"author":6434,"museum":78,"description":6435,"tags":8854,"thumbUrl":8855,"material":86,"size":86,"collection":86,"collections":8856,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},237875,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237875",[24,27,29,230,81,36,306,516,272,33,35,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f490a647d47e37a3f9f7c1094094503.jpg",[],{"id":8858,"slug":8859,"title":8860,"dynasty":18,"author":6142,"museum":78,"description":6964,"tags":8861,"thumbUrl":8862,"material":359,"size":360,"collection":86,"collections":8863,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":71},236675,"shan-shui-shan-song-xu-236675","山水扇",[694,24,25,55,27,36,29,32,422,34,31,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba22b3a71b4c6c07ffcf56d6d73b8ea7.jpg",[],{"id":8865,"slug":8866,"title":8039,"dynasty":109,"author":6306,"museum":78,"description":8040,"tags":8867,"thumbUrl":8869,"material":359,"size":360,"collection":86,"collections":8870,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},235664,"shan-shui-ping-yuan-jiang-235664",[24,28,57,229,29,7,7535,142,505,8868,215,481,33,1082,36],"舟人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b4a4034a49030300ed4a23692b7679.jpg",[],{"id":8872,"slug":8873,"title":7805,"dynasty":109,"author":4120,"museum":78,"description":8282,"tags":8874,"thumbUrl":8877,"material":359,"size":360,"collection":86,"collections":8878,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},235615,"hong-ren-shan-shui-ce-hong-ren-235615",[55,24,25,5254,8875,5578,36,29,7,1526,32,868,60,3884,273,274,8876,217],"干笔","小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg",[],{"id":8880,"slug":8881,"title":8882,"dynasty":18,"author":170,"museum":78,"description":8352,"tags":8883,"thumbUrl":8884,"material":86,"size":86,"collection":86,"collections":8885,"showCount":181,"zanCount":592,"manualWeight":11,"mainColor":46},234634,"fang-zhao-song-xue-shan-shui-shan-ye-lan-ying-234634","仿赵松雪山水扇页",[24,694,28,29,7,357,34,33,60,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39567596c4b94d544a1394f90e146675.jpg",[],{"id":8887,"slug":8888,"title":896,"dynasty":109,"author":8889,"museum":78,"description":8890,"tags":8891,"thumbUrl":8893,"material":86,"size":86,"collection":42,"collections":8894,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},234334,"shan-shui-ce-jin-ting-biao-234334","金廷标","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[8892,24,25,230,27,28,29,7,60,574,246],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d5cfaaa35db34dd3fc8041a6cf3523.jpg",[42,68],{"id":8896,"slug":8897,"title":8898,"dynasty":109,"author":2054,"museum":78,"description":8899,"tags":8900,"thumbUrl":8901,"material":86,"size":86,"collection":86,"collections":8902,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），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，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,24,26,27,29,36,306,516,32,422,35,7,158,868,1687,329,1526,769,290,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":8904,"slug":8905,"title":8906,"dynasty":18,"author":200,"museum":138,"description":8907,"tags":8908,"thumbUrl":8909,"material":177,"size":86,"collection":86,"collections":8910,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,24,25,26,27,29,60,38,3814,37,58,33,31,7,32,63,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":8912,"slug":8913,"title":8914,"dynasty":109,"author":2054,"museum":138,"description":8915,"tags":8916,"thumbUrl":8919,"material":1284,"size":8920,"collection":86,"collections":8921,"showCount":181,"zanCount":592,"manualWeight":11,"mainColor":46},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,27,245,82,8892,33,7,35,505,247,996,1526,8917,8918],"水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg","纵32.8cm，横52.8cm",[],{"id":8923,"slug":8924,"title":2555,"dynasty":109,"author":2556,"museum":138,"description":2557,"tags":8925,"thumbUrl":8926,"material":177,"size":2561,"collection":86,"collections":8927,"showCount":181,"zanCount":592,"manualWeight":11,"mainColor":46},233449,"ren-wu-shan-shui-ce-luo-pin-233449",[24,25,55,230,27,82,60,7,303,31,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8b8187910c9fca863f3381a4450720.jpg",[],{"id":8929,"slug":8930,"title":6730,"dynasty":94,"author":5423,"museum":138,"description":6731,"tags":8931,"thumbUrl":8933,"material":128,"size":8934,"collection":86,"collections":8935,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},233204,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-233204",[55,24,25,27,36,29,8932,422,7,216,673,5426],"林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4212db7815938d8172fc55510bf7a.jpg","28.1X26.6cm厘米",[],{"id":8937,"slug":8938,"title":8939,"dynasty":2508,"author":200,"museum":78,"description":8940,"tags":8941,"thumbUrl":8948,"material":359,"size":360,"collection":86,"collections":8949,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":71},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[23,28,8942,57,29,8943,357,84,8944,31,7,60,329,63,8945,8946,34,8947],"金碧","花鸟","海浪","红花","蓝花","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":8951,"slug":8952,"title":8953,"dynasty":18,"author":6142,"museum":78,"description":8954,"tags":8955,"thumbUrl":8956,"material":86,"size":86,"collection":86,"collections":8957,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,24,27,28,29,61,7,63,158,33,36,229,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":8959,"slug":8960,"title":8961,"dynasty":94,"author":3045,"museum":78,"description":8962,"tags":8963,"thumbUrl":8964,"material":86,"size":86,"collection":86,"collections":8965,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","水村图卷","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,55,24,25,26,27,36,29,246,33,6335,35,30,273,274,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":8967,"slug":8968,"title":8969,"dynasty":2508,"author":200,"museum":78,"description":8970,"tags":8971,"thumbUrl":8972,"material":86,"size":86,"collection":86,"collections":8973,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[7611,28,29,7,247,33,34,600,539,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":8975,"slug":8976,"title":8977,"dynasty":109,"author":1350,"museum":78,"description":8978,"tags":8979,"thumbUrl":8981,"material":86,"size":86,"collection":86,"collections":8982,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},224462,"liu-an-jiang-zhou-tu-wang-hui-224462","柳岸江洲图","《柳岸江洲图》 是清代王翚作品，尺寸为95.5cm×41cm。\n现藏于天津市艺术博物馆藏。\n近景以浓重墨色画稀疏柳林。\n枝干参差，富于变化，远处群山，波状起伏，湖上轻舟，张帆而行。\n笔墨简练，干脆利落。",[23,55,24,27,29,7,1526,8980,4847],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc47787a2a429be37b4a2e87319051f3.jpg",[],{"id":8984,"slug":8985,"title":8986,"dynasty":109,"author":3654,"museum":78,"description":8987,"tags":8988,"thumbUrl":8989,"material":86,"size":86,"collection":86,"collections":8990,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":71},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,55,24,25,215,28,36,29,35,33,30,31,7,84,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":8992,"slug":8993,"title":8994,"dynasty":109,"author":1103,"museum":78,"description":8995,"tags":8996,"thumbUrl":8997,"material":86,"size":86,"collection":86,"collections":8998,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,215,28,57,29,33,35,30,31,7,143,972,357,2359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":9000,"slug":9001,"title":4129,"dynasty":94,"author":200,"museum":96,"description":9002,"tags":9003,"thumbUrl":9004,"material":9005,"size":9006,"collection":86,"collections":9007,"showCount":181,"zanCount":592,"manualWeight":11,"mainColor":71},223508,"lin-ting-qiu-se-tu-yi-ming-223508","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收网，朝起江村，各有所事。\n本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[23,24,55,25,27,36,29,32,661,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","绢本浅设色","27.5x50.7厘米",[],{"id":9009,"slug":9010,"title":9011,"dynasty":109,"author":5449,"museum":96,"description":9012,"tags":9013,"thumbUrl":9014,"material":9015,"size":9016,"collection":42,"collections":9017,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","柳浪闻莺御题轴","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[23,24,215,27,36,29,1526,1052,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","轴 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三结合。",[24,55,29,27,215,36,30,31,7,84,141,7976],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3085e8a7828c4656d239af647fcfa1c2.jpg",[],12,{"id":9098,"slug":9099,"title":1248,"dynasty":94,"author":200,"museum":78,"description":9092,"tags":9100,"thumbUrl":9101,"material":359,"size":360,"collection":86,"collections":9102,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},290144,"bu-yu-tu-yi-ming-290144",[23,24,694,27,29,7,33,273,3869,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3bc4909b20a98e28d9451ec850ccfe.jpg",[],{"id":9104,"slug":9105,"title":9106,"dynasty":109,"author":1350,"museum":78,"description":5808,"tags":9107,"thumbUrl":9108,"material":359,"size":360,"collection":86,"collections":9109,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},288275,"shi-hua-ce-ye-10-zhen-wang-hui-288275","诗画册页10帧",[23,24,27,25,230,29,7,357,34,37,58,36,2680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7369b0cd92479004403e2a8f52e7ae8.jpg",[],{"id":9111,"slug":9112,"title":9113,"dynasty":18,"author":170,"museum":78,"description":8344,"tags":9114,"thumbUrl":9116,"material":359,"size":360,"collection":86,"collections":9117,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},288149,"xue-jing-shan-shui-tu-li-zhou-lan-ying-288149","雪景山水图立轴",[23,24,215,29,371,174,9115,7,997,34,36,28,2762],"茅亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d29f7d59862ce63fecb4304eeb3687.jpg",[],{"id":9119,"slug":9120,"title":4933,"dynasty":18,"author":2249,"museum":78,"description":8141,"tags":9121,"thumbUrl":9122,"material":359,"size":360,"collection":86,"collections":9123,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},288104,"shan-shui-tu-ye-wen-bo-ren-288104",[23,24,55,27,29,36,61,33,7,58,37,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7db49b02c17bf4b327893457d6e909.jpg",[],{"id":9125,"slug":9126,"title":9127,"dynasty":94,"author":200,"museum":78,"description":9092,"tags":9128,"thumbUrl":9129,"material":359,"size":360,"collection":86,"collections":9130,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},288061,"jin-ming-chi-jing-zhou-tu-yi-ming-288061","金明池竞舟图",[24,55,26,229,61,7,58,27,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7450103ecc9aad38fd4c56de312ef686.jpg",[],{"id":9132,"slug":9133,"title":9134,"dynasty":109,"author":200,"museum":78,"description":9135,"tags":9136,"thumbUrl":9141,"material":359,"size":360,"collection":86,"collections":9142,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},272836,"zi-tan-mu-bian-zuo-qian-ci-bai-di-qing-hua-shan-shui-tu-cha-ping-yi-ming-272836","紫檀木边座嵌瓷白地青花山水图插屏","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[9137,9138,9139,9140,4213,29,7,30,31,32,33,60,142],"青花","陶瓷","木质","插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed00e7621d03287f1ae29c4fb16db2f.jpg",[],{"id":9144,"slug":9145,"title":9146,"dynasty":94,"author":1871,"museum":138,"description":9147,"tags":9148,"thumbUrl":9149,"material":233,"size":9150,"collection":849,"collections":9151,"showCount":9096,"zanCount":592,"manualWeight":11,"mainColor":46},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,26,25,37,38,27,58,1209,370,306,516,303,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[849],{"id":9153,"slug":9154,"title":9155,"dynasty":94,"author":9156,"museum":138,"description":9157,"tags":9158,"thumbUrl":9161,"material":86,"size":86,"collection":849,"collections":9162,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},239567,"xing-fang-cao-tie-ce-ye-deng-wen-yuan-239567","行芳草帖册页","邓文原","邓文原（1258年—1328年），字善之，一字匪石，人称素履先生，绵州（今四川绵阳）人，又因绵州古属巴西郡，人称邓文原为“邓巴西”。其父早年避兵入杭，遂迁寓浙江杭州，或称杭州人。\n历官江浙儒学提举、江南浙西道肃政廉访司事、集贤直学士兼国子监祭酒、翰林侍讲学士，卒谥文肃。其政绩卓著，为一代廉吏，其文章出众，也堪称元初文坛泰斗，《元史》有传。著述有《巴西文集》《内制集》《素履斋稿》等。\n邓文原擅行、草书。传世书迹有《临急就章卷》等。与赵孟頫、鲜于枢齐名，号称“元初三大书法家”，尤以擅章草而闻名。",[37,38,7,31,9159,9160,7098,58],"暮烟","鸥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9f44f03c82473d486a19d389c5da98.jpg",[849],{"id":9164,"slug":9165,"title":9166,"dynasty":109,"author":9167,"museum":78,"description":9168,"tags":9169,"thumbUrl":9170,"material":86,"size":86,"collection":86,"collections":9171,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},238240,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238240","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,28,27,29,36,230,306,516,1526,329,60,7,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6c5a108e9c64dea7e1e7ec17100c74.jpg",[],{"id":9173,"slug":9174,"title":596,"dynasty":109,"author":9175,"museum":78,"description":9176,"tags":9177,"thumbUrl":9178,"material":86,"size":86,"collection":42,"collections":9179,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},237773,"shan-shui-tu-ce-ye-xin-237773","叶欣","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[24,25,230,28,29,7,32,33,34,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[42],{"id":9181,"slug":9182,"title":896,"dynasty":109,"author":9183,"museum":78,"description":9184,"tags":9185,"thumbUrl":9186,"material":359,"size":360,"collection":42,"collections":9187,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},236989,"shan-shui-ce-zhang-xi-236989","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,25,230,28,27,36,37,38,58,29,30,31,7,63,33,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52e9365afa6a8bd693900aeb0cf10b.jpg",[42],{"id":9189,"slug":9190,"title":8860,"dynasty":18,"author":9191,"museum":78,"description":9192,"tags":9193,"thumbUrl":9194,"material":359,"size":360,"collection":86,"collections":9195,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},236682,"shan-shui-shan-jiang-qian-236682","蒋乾","蒋乾（1525—？）明代画家。字子健，金陵（今江苏南京）人。\n嵩子，隐居吴郡（今江苏苏州）虹桥，困以为号。破屋半间，一介不苟。八十年如一日。江盈科为长洲宰，表其庐曰“东海冥鸿”。善山水，清拔古雅，过於乃父。嘉靖四十二年（1563）仿王蒙山水图。",[24,457,694,29,174,34,31,7,36,33,505,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4dd3c710ef5cd3dbc82276a1c1a9b4.jpg",[],{"id":9197,"slug":9198,"title":6840,"dynasty":18,"author":170,"museum":78,"description":8344,"tags":9199,"thumbUrl":9200,"material":359,"size":360,"collection":86,"collections":9201,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},234774,"shan-shui-shan-ye-lan-ying-234774",[694,27,36,29,7,33,35,34,60,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f143f8608502a52ea91be63a03f0c3.jpg",[],{"id":9203,"slug":9204,"title":9205,"dynasty":109,"author":9206,"museum":78,"description":9207,"tags":9208,"thumbUrl":9209,"material":86,"size":86,"collection":86,"collections":9210,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},234489,"fan-zhou-gui-cun-shan-ye-gu-sheng-234489","泛舟归村扇页","顾升","顾升,原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。\n顾升，原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。国子生，以子贵封承德郎翰林院庶吉士。书、画、篆、隶俱工，又善画大人物，松石大幅尤佳。康熙四十四年(1705)南巡，进诗画册。著写山楼并题画诗",[24,694,27,29,7,33,30,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c18aedc0239552953e824f8f99ceb25.jpg",[],{"id":9212,"slug":9213,"title":8658,"dynasty":153,"author":6417,"museum":138,"description":9214,"tags":9215,"thumbUrl":9216,"material":471,"size":9217,"collection":86,"collections":9218,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},234010,"xue-jiang-mai-yu-ye-li-dong-234010","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[24,25,5254,27,28,36,29,31,7,175,84,661,370,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","纵23.6厘米,横25.2厘米",[],{"id":9220,"slug":9221,"title":7584,"dynasty":153,"author":200,"museum":78,"description":9222,"tags":9223,"thumbUrl":9224,"material":86,"size":86,"collection":86,"collections":9225,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},233699,"yu-le-tu-ye-yi-ming-233699","绘三只渔船捕鱼归来,泊于古松幽篁掩映下的岸边.舟上人物或正在用餐,或忙于其他事情,充满生活的气息",[24,55,25,694,28,27,36,29,60,7,33,31,175,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389669d69d09b3873a5a16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的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,55,245,27,28,36,142,1220,804,2085,35,7,1052,246,9232],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":9237,"slug":9238,"title":6351,"dynasty":109,"author":6352,"museum":78,"description":9239,"tags":9240,"thumbUrl":9241,"material":359,"size":360,"collection":86,"collections":9242,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[24,27,36,25,215,29,30,31,7,35,33,142,550,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":9244,"slug":9245,"title":9246,"dynasty":153,"author":200,"museum":78,"description":9247,"tags":9248,"thumbUrl":9250,"material":86,"size":86,"collection":86,"collections":9251,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},227887,"jiang-shang-qing-feng-tu-yi-ming-227887","江上青峰图","采用边角式取景，右下隅青峰峭立，青绿敷色晕染石身，深墨点簇林木，尽显山石挺秀之姿。空阔江面铺陈开淡远烟波，几叶扁舟悠然泛于粼粼水波之上，将江南水色的清旷柔婉与峰石苍劲相融。\n\n咫尺扇面间以小见大，铺展出江天寥廓的无尽余韵，把烟波江上的空寂悠然藏于方寸，尽显对山水诗意的精微捕捉，带着宋代院体山水雅致清隽的意趣。",[23,55,24,25,694,28,56,29,36,7,9249,792],"青峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ce79053f855d19971de523413bbc8.jpg",[],{"id":9253,"slug":9254,"title":9255,"dynasty":2508,"author":9256,"museum":78,"description":9257,"tags":9258,"thumbUrl":9265,"material":359,"size":360,"collection":8674,"collections":9266,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},225915,"claude-monet-the-winter-near-lavacourt-1880-mo-nai-225915","Claude Monet - The Winter, near Lavacourt, 1880","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[55,8670,9259,9260,9261,9262,3058,246,7,60,33,8569,9263,575,9264],"印象派","光影捕捉","色彩晕染","笔触灵动","薄冰","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae429c102664320b6ecfd5bfab9dfb33.jpg",[8674],{"id":9268,"slug":9269,"title":9270,"dynasty":153,"author":200,"museum":78,"description":9271,"tags":9272,"thumbUrl":9273,"material":86,"size":86,"collection":86,"collections":9274,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":71},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,25,26,55,28,57,36,370,175,29,7,216,30,31,84,60,63,141,539,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":9276,"slug":9277,"title":9278,"dynasty":109,"author":200,"museum":78,"description":8418,"tags":9279,"thumbUrl":9280,"material":86,"size":86,"collection":86,"collections":9281,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},223530,"wu-yi-shan-shi-ba-jing-tu-5-yi-ming-223530","武夷山十八景图5",[23,24,25,27,28,29,7,31,34,33,32,175,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c84bfbc9bf9a7a54e09f8f17c57e1.jpg",[],{"id":9283,"slug":9284,"title":9285,"dynasty":153,"author":1196,"museum":96,"description":1197,"tags":9286,"thumbUrl":9293,"material":160,"size":9294,"collection":86,"collections":9295,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},221245,"xi-hu-shi-jing-ti-zi-ye-xiao-yan-221245","西湖十景题字",[23,24,37,5254,38,9287,9288,29,9289,9290,7,9291,481,57,36,28,9292],"西湖十景","诗画合一","亭台楼阁","柳林","游鱼","寺宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d350abc6068e9d7e71f196f4dbe3dde.jpg","单页纵23.9厘米，横20.2厘米",[],{"id":9297,"slug":9298,"title":9299,"dynasty":153,"author":200,"museum":96,"description":9300,"tags":9301,"thumbUrl":9303,"material":100,"size":86,"collection":42,"collections":9304,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},218993,"jiang-ji-fan-ying-tu-yi-ming-218993","江矶帆影图","这个构图可能取自李唐《江山小景图》的开篇，其中山和树的笔触比较粗糙，水面没有画出波纹。",[23,24,25,55,27,28,36,29,9302,3963,7,33],"江矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d811081870c628ebc7c26ba55f12af7.jpg",[42],{"id":9306,"slug":9307,"title":9308,"dynasty":109,"author":5072,"museum":188,"description":9309,"tags":9310,"thumbUrl":9311,"material":249,"size":86,"collection":86,"collections":9312,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":46},214496,"shui-mo-tu-ce-7-zheng-min-214496","水墨图册-7","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[23,24,27,230,38,37,36,7,29,33,158,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b1bc4021653f8b46f160971f4c0fc4.jpg",[],{"id":9314,"slug":9315,"title":9316,"dynasty":18,"author":9317,"museum":20,"description":9318,"tags":9319,"thumbUrl":9320,"material":86,"size":86,"collection":42,"collections":9321,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":9322},203172,"cang-zhou-tu-yong-ce-wang-wen-203172","沧洲图咏册","王问","画面以水墨写意出沧洲胜境，近岸苍树以浓墨点染，枝干虬劲，叶态生动。水面孤舟一叶，蓑笠之人隐于舟中，似在静赏山水，又若沉思。远景山峦层叠，淡墨勾勒间云雾轻笼，尽显空濛悠远之韵。笔墨简括却意境丰盈，画风清疏雅致，将文人渔隐的闲适心境融入自然，传递出超脱尘俗的逸趣。",[24,27,29,7,216,230,33,36,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cdbe896000679f29a0c7ca0bb835741.jpg",[42],"a69e81",{"id":9324,"slug":9325,"title":9326,"dynasty":5531,"author":9327,"museum":20,"description":9328,"tags":9329,"thumbUrl":9330,"material":86,"size":86,"collection":42,"collections":9331,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":9332},202965,"liu-xi-yu-ying-tu-zhou-chen-shu-ren-202965","柳溪渔影图轴","陈树人","柳丝轻拂溪岸，淡绿晕染出春日柔媚。澄澈溪水间，孤舟一叶，渔人持竿静坐，影落清波，尽显悠然之趣。远处矮墙隐现，飞鸟点染天际，添几分空濛。笔墨灵动洒脱，设色清新雅致，融传统水墨意趣与明快格调，于简淡中藏生机，传递渔隐生活的恬淡自在。",[24,28,29,7,175,63,458,31,27,114,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0015fab4bfa42fe85edf840c28623120.jpg",[42],"c5ad8f",{"id":9334,"slug":9335,"title":9336,"dynasty":109,"author":9337,"museum":20,"description":9338,"tags":9339,"thumbUrl":9340,"material":86,"size":86,"collection":42,"collections":9341,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":9342},201790,"qiu-xi-xiao-ting-tu-zhou-gu-da-shen-201790","秋溪小艇图轴","顾大申","秋溪泛艇，木叶疏朗间浸满清寂秋意。岸边老树盘曲，枝桠以细劲线条勾勒，墨色浓淡相衬显萧瑟之态；山石用淡墨皴擦，纹理自然晕染，兼具苍劲与秀逸。溪水轻漾，一艇悠然泊于岸侧，似载着渔者的归隐之思；远处茅舍隐于林麓，几缕飞鸟点染空濛天际，更添悠远之韵。笔墨简淡却意韵醇厚，线条灵动不失沉稳，设色雅致贴合秋景，整体铺陈出文人画特有的闲适超脱，将秋日溪山的静谧与隐逸情怀融于尺幅之间。",[24,29,215,36,28,7,6787,84,34,5798,63,175,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c5a3d5368ba4f6b6b2307cd04594fe.jpg",[42],"5d401b",{"id":9344,"slug":9345,"title":9346,"dynasty":18,"author":7020,"museum":20,"description":9347,"tags":9348,"thumbUrl":9349,"material":86,"size":86,"collection":42,"collections":9350,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":9351},201613,"han-yu-niang-yun-tu-zhou-wu-bin-201613","含雨酿云图轴","画面峰峦奇崛，云雾如缕缠绕山间，似含雨酿云之态。山石以多变皴法勾勒，纹理苍劲，尽显险峻之势；瀑布飞流直下，与林木相映成趣。山间楼阁以界画技法精细描绘，结构严谨，于烟霞中隐现，添古雅之韵。近景孤舟泛于水面，林木葱郁，亭舍错落，传递出文人雅士寄情山水的超脱心境。整幅画设色淡雅，意境清幽，将自然之奇与人文之趣融于一体，尽显画家独特的山水意趣。",[24,29,215,28,61,272,7,36,229,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f0111b6fa02fa9ea1fcb52eecb4084.jpg",[42],"c4baa7",{"id":9353,"slug":9354,"title":9355,"dynasty":109,"author":6306,"museum":20,"description":9356,"tags":9357,"thumbUrl":9358,"material":86,"size":86,"collection":42,"collections":9359,"showCount":9096,"zanCount":11,"manualWeight":11,"mainColor":9360},201528,"wu-xia-qiu-tao-tu-zhou-yuan-jiang-201528","巫峡秋涛图轴","巫峡险峻之势凝于画卷，山峦叠嶂间，界画勾勒的楼阁倚崖而立，线条精巧工致。山石以皴法表现肌理，墨色浓淡交织出林木葱茏之态。江中秋涛奔涌，波涛起伏间，一叶扁舟破浪前行，船身细节入微。远山云雾缥缈，近麓茅屋隐现，添了几分幽居意趣。整幅画融山水雄奇与建筑精巧，动静相济，尽显巫峡秋日壮景与文人山水情怀。",[229,36,29,61,7,792,142,1220,329,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cfe5b5cdcd135532c2bcae734a5f67.jpg",[42],"896f60",{"id":9362,"slug":9363,"title":9364,"dynasty":94,"author":200,"museum":78,"description":9365,"tags":9366,"thumbUrl":9367,"material":359,"size":360,"collection":86,"collections":9368,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},290063,"liu-yin-yuan-tiao-tu-yi-ming-290063","柳荫远眺图","此作以淡墨晕染烟水江南之境。右畔垂柳疏简，枯淡墨色绘出柔丝轻垂之态，萧散空灵。湖面空蒙辽阔，汀渚错落隐现，远山含黛藏在烟霭之中，似有若无，晕开悠远的朦胧意趣。近滩扁舟上，一人独立凝睇，身影清寂，将幽独的文人心境融在湖山之中。全作用笔简淡写意，以留白拓开天地，褪去繁饰，尽显尚意之风，把萧淡清旷的襟怀藏在烟柳远山之间，淡而弥远，空而愈深，余韵悠长。",[24,694,27,29,1526,7,273,505,3915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab858fbaa3fcde147275e8f4bdc0983.jpg",[],{"id":9370,"slug":9371,"title":9372,"dynasty":109,"author":9373,"museum":78,"description":9374,"tags":9375,"thumbUrl":9376,"material":359,"size":360,"collection":86,"collections":9377,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},288338,"cheng-bo-yue-fan-tu-wang-bing-288338","澄波月泛图","王炳","王炳 (1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,55,25,215,29,27,28,31,35,33,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f7fb923b860824a47d9607f66eb8af.jpg",[],{"id":9379,"slug":9380,"title":9381,"dynasty":18,"author":3811,"museum":78,"description":6652,"tags":9382,"thumbUrl":9383,"material":359,"size":360,"collection":86,"collections":9384,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},287974,"luo-bi-yan-yun-shan-shui-tu-juan-chen-chun-287974","落笔烟云山水图卷",[23,55,24,26,27,29,7,63,34,33,2085,31,36,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e33f1b7ecbe4267e336c150b7d478b7.jpg",[],{"id":9386,"slug":9387,"title":9388,"dynasty":18,"author":6142,"museum":78,"description":6964,"tags":9389,"thumbUrl":9390,"material":86,"size":86,"collection":86,"collections":9391,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},239191,"shan-chuan-ming-sheng-ce-song-xu-239191","山川名胜册",[24,28,29,36,7,34,33,31,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e5b49c3103a4dfa134cbb8ab8697e8.jpg",[],{"id":9393,"slug":9394,"title":6673,"dynasty":109,"author":9395,"museum":78,"description":9396,"tags":9397,"thumbUrl":9398,"material":86,"size":86,"collection":86,"collections":9399,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},238950,"shan-shui-ce-ye-zhou-kai-238950","周恺","此作以淡墨轻岚绘就江汀闲景，近岸古木虬曲苍劲，盘根错节间苔痕缀枝，暗蕴残冬余韵。扁舟系于树侧，舟中高士安坐，静对悠悠江流。江面波痕轻漾，远渚浅草隐现，群鸥掠空划破空寂，烟霭晕染处天水相融。题诗呼应画中意境，笔致秀雅简淡，以留白铺就清旷寂寥的氛围，将文人寄情丘壑、安然自适的林下襟怀藏于淡景之中，萧散简远，余韵悠长，尽现山水小品的诗意禅心。",[55,24,25,230,28,57,36,29,7,63,84,31,60,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d661281e157a77345991571e1d6467e.jpg",[],{"id":9401,"slug":9402,"title":896,"dynasty":109,"author":9403,"museum":78,"description":9404,"tags":9405,"thumbUrl":9406,"material":359,"size":360,"collection":42,"collections":9407,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},237910,"shan-shui-ce-cheng-ming-237910","程鸣","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[24,25,230,27,36,29,63,7,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e13b89d02fa3b9a8a59930c7c3adddf.jpg",[42],{"id":9409,"slug":9410,"title":596,"dynasty":109,"author":8072,"museum":78,"description":9411,"tags":9412,"thumbUrl":9413,"material":359,"size":360,"collection":42,"collections":9414,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},237745,"shan-shui-tu-ce-cheng-zheng-kui-237745","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[24,25,230,27,28,38,36,29,306,516,7,61,33,1567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a67fa5c35f2204db75537c9a6afe59.jpg",[42],{"id":9416,"slug":9417,"title":896,"dynasty":109,"author":9418,"museum":78,"description":9419,"tags":9420,"thumbUrl":9421,"material":359,"size":360,"collection":42,"collections":9422,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},237420,"shan-shui-ce-chen-jia-le-237420","陈嘉乐","陈嘉乐（生卒年不详），又名陈嘉荣，字子显，号东原。清代济南历城人。善诗，工书画，尤长于山水。画学王原祁风格，乾隆年间闻名于画坛。后被道光皇帝第九子、孚敬郡王奕譓请到京邸，跟其学画。",[24,25,230,28,29,84,32,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fecf0d43a5c950b721622c5a13b9833.jpg",[42],{"id":9424,"slug":9425,"title":9426,"dynasty":18,"author":9427,"museum":78,"description":9428,"tags":9429,"thumbUrl":9430,"material":359,"size":360,"collection":86,"collections":9431,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},237119,"qiu-jiang-fan-ting-shan-ye-wu-zhen-237119","秋江泛艇扇页","吴振","吴振（？—1632后）字振之，一作元振，号竹屿、雪鸿。华亭（今上海松江）人。\n善画山水，师法黄公望，兼习董源、倪瓒、王蒙诸家，笔墨秀润，尤工枯树，临宋元名迹更佳，画风与赵左、沈士充接近，得董其昌赏识，为云间正宗。作画刻意求精，稍不满意即焚去，传世作品不多。子昌，字昌伯，亦能继承家学。",[24,694,27,29,36,792,7,33,34,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bb6cce3e2acb6318fa7afd55961a11.jpg",[],{"id":9433,"slug":9434,"title":8860,"dynasty":18,"author":6451,"museum":78,"description":6452,"tags":9435,"thumbUrl":9436,"material":359,"size":360,"collection":86,"collections":9437,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},236692,"shan-shui-shan-liu-yuan-qi-236692",[694,27,36,28,29,33,34,35,7,58,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c1069fe763f34470af4ab4f91c30c59.jpg",[],{"id":9439,"slug":9440,"title":9441,"dynasty":18,"author":9442,"museum":78,"description":9443,"tags":9444,"thumbUrl":9445,"material":359,"size":360,"collection":86,"collections":9446,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},236667,"qiu-jiang-diao-ting-shan-ye-song-jue-236667","秋江钓艇扇页","宋珏","宋珏（1576—1632）明代诗人、书画家。字比玉，号荔支子，浪道人、国子仙，福建莆田人。国子监生。漫游吴越，客死吴地，工书画篆刻。山水学米氏、黄公望、吴镇，用笔苍老秀逸，不拘于法，兼善画松。",[694,27,29,7,792,63,175,36,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa005189c8c25c3552046034c87135ba8.jpg",[],{"id":9448,"slug":9449,"title":2440,"dynasty":109,"author":200,"museum":78,"description":9450,"tags":9451,"thumbUrl":9452,"material":86,"size":86,"collection":86,"collections":9453,"showCount":148,"zanCount":592,"manualWeight":11,"mainColor":46},236067,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236067","此作用浅淡水墨绘就萧疏秋林之景，枯木虬曲错落，枝桠尽露嶙峋之态，策杖幽人行于林麓间，更衬林泉清寂。林畔茅舍隐于林木间，淡墨扫就陂陀山石，温润松秀。远景汀渚远山以轻墨晕染，虚实相生，将荒寒淡远的秋冬平野铺展而出。\n\n用笔松灵雅致，干笔皴擦带出山野质感，留白空灵写意，尽显南宗山水萧散简远的意趣。寥寥笔墨勾勒出林下幽居的清寂况味，以简驭繁、以淡胜浓，将文人寄情林泉的闲远心境融于尺幅之中，是深得仿古山水意韵的雅致小品。",[24,25,230,27,81,36,29,174,273,34,32,31,7,33,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba88997e1c5b5c27221bff52124674f.jpg",[],{"id":9455,"slug":9456,"title":9457,"dynasty":109,"author":1350,"museum":78,"description":5808,"tags":9458,"thumbUrl":9459,"material":359,"size":360,"collection":86,"collections":9460,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},235912,"lu-hua-diao-chuan-ye-wang-hui-235912","芦花钓船页",[24,25,230,27,2132,7,175,29,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77779a097697f97d9978945754d71b8d.jpg",[],{"id":9462,"slug":9463,"title":9464,"dynasty":109,"author":1350,"museum":78,"description":9465,"tags":9466,"thumbUrl":9467,"material":86,"size":86,"collection":86,"collections":9468,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},235779,"ming-xian-ji-jin-ce-liu-xi-yan-yu-ye-wang-hui-235779","名贤集锦册-柳溪烟雨页","此作以水墨晕染出江南烟柳水村之境。远山在空濛烟雨间晕化成淡墨虚影，与云天相融，尽显虚灵空寂之态。近岸垂柳成林，浓墨点染枝叶，摇曳生姿，浅墨绘就长堤水渚，疏密有致。水面之上，渔翁独撑小舟悠然泛行，柳荫下木桥横卧，衬出乡野幽寂之趣。画面虚实相生，淡墨写远、浓墨绘近，将烟雨笼罩下的朦胧诗意尽显无遗，笔墨简淡却意韵悠长，藏着寄情林泉、归向野逸的文人雅趣，尽显山水小品的空灵雅致。",[24,25,230,27,29,1526,157,3961,143,7,1506,273,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a06f5961504c5c8bb6c4c16bd19efaa.jpg",[],{"id":9470,"slug":9471,"title":9472,"dynasty":109,"author":200,"museum":78,"description":9473,"tags":9474,"thumbUrl":9475,"material":86,"size":86,"collection":86,"collections":9476,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},235667,"yuan-yao-shan-shui-ping-ping-liu-yong-pu-yi-ming-235667","袁耀山水屏-平流湧瀑","此作撷取江南水居之景，远景山峦轻笼烟霭，晕染出空濛悠远之致。山巅双松挺秀如盖，与朱栏山亭相映，山畔飞瀑叠落如碎玉，汇入清溪沿着山涧蜿蜒淌向平湖。\n\n左岸幽轩藏于繁荫翠幄间，与山亭遥遥对坐，凭栏便可尽览天光水色。平湖波平如镜，数艘渔舟静泊水面，将水畔栖居的闲静意趣晕染开来。\n\n画作工写相兼，山石皴擦苍润生姿，林木晕染清润秀雅，设色轻淡柔和，将园林雅致与山水野趣相融，铺展出江南水畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[55,24,28,36,229,29,61,31,7,32,30,272,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],{"id":9478,"slug":9479,"title":596,"dynasty":109,"author":1406,"museum":78,"description":9480,"tags":9481,"thumbUrl":9482,"material":86,"size":86,"collection":86,"collections":9483,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},235644,"shan-shui-tu-ce-wu-li-235644","此作用平远章法铺展水岸秋光，近渚枯木蟠曲，苍松卓立，水色空明间一叶扁舟随波缓行。中洲林木蓊郁，隐见村居茅舍，远山以淡墨轻扫，黛色含烟，山顶浮屠轻点，添就古雅幽寂之意。\n笔墨以干笔皴擦出山石肌理，墨色清润淡和，自带萧散简远的文人意趣。左上题诗呼应画境，将林泉幽居的澹泊襟怀融于山水间，实景与诗意浑然相融，写尽江南水滨的清秋日色，漫着静穆淡远的悠然况味。",[24,27,36,29,7,357,273,61,58,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11cd69920f84e0acb259430d4620faaf.jpg",[],{"id":9485,"slug":9486,"title":9487,"dynasty":18,"author":200,"museum":78,"description":9488,"tags":9489,"thumbUrl":9490,"material":86,"size":86,"collection":86,"collections":9491,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},235321,"shen-shi-chong-han-tang-yu-ting-tu-zhou-yi-ming-235321","沈士充寒塘渔艇图轴","此作用笔清隽雅致，以干湿互济的笔墨勾勒冬江寒林之景。危崖层叠，以短皴复点苔墨，晕出山石厚重肌理，淡墨烘染出空蒙山雾，将远山隐于烟霭之中，平添幽寂荒寒之意。近岸枯木虬曲，木叶尽脱，枝桠苍劲舒展，与滩头乱石相映，尽展冬日元气萧索之态。\n\n溪间扁舟静泊，渔翁拥衣独坐舱头，孤舟暖篷与周遭清寒形成温冷对照，把渔人江渚独守的安闲隐逸，融在冬日水滨的淡远清旷之中，以景寄情，将幽逸况味刻画尽致。",[24,25,215,27,29,7,174,175,141,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891e488a81d900cd51693f501d860966.jpg",[],{"id":9493,"slug":9494,"title":9495,"dynasty":109,"author":7494,"museum":138,"description":9496,"tags":9497,"thumbUrl":9498,"material":177,"size":9499,"collection":86,"collections":9500,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},235028,"bai-ying-lou-tu-ce-ye-sun-yi-235028","拜影楼图册页","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[24,25,230,28,29,36,32,30,31,7,422,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056592b81dfa53b5a1a4c3aeedbef075.jpg","纵19.5厘米 横16.0厘米",[],{"id":9502,"slug":9503,"title":8860,"dynasty":18,"author":9504,"museum":78,"description":9505,"tags":9506,"thumbUrl":9507,"material":359,"size":360,"collection":86,"collections":9508,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},234832,"shan-shui-shan-wei-zhi-ke-234832","魏之克","魏之克（明），后名克，字和叔，上元（今南京）人。之璜弟，与兄卖画为生。工诗，善山水追宗宋元，得其兄法。兼作工装。笔法秀美，姿颜软媚，有不胜罗绮之态。",[694,24,27,29,61,7,34,33,37,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57589074d4997912e0900d20e4b199ca.jpg",[],{"id":9510,"slug":9511,"title":6840,"dynasty":18,"author":170,"museum":78,"description":8344,"tags":9512,"thumbUrl":9513,"material":359,"size":360,"collection":86,"collections":9514,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},234830,"shan-shui-shan-ye-lan-ying-234830",[694,24,25,55,27,29,174,7,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ffc56d629f48afc48a85f98b53415e.jpg",[],{"id":9516,"slug":9517,"title":9518,"dynasty":18,"author":170,"museum":78,"description":8352,"tags":9519,"thumbUrl":9520,"material":86,"size":86,"collection":86,"collections":9521,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},234633,"fang-wang-shu-ming-qiu-jiang-shi-si-shan-ye-lan-ying-234633","仿王叔明秋江诗思扇页",[694,27,28,36,29,7,33,6335,792,34,1082,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b9e0bcf75000775f2e827ede181c39.jpg",[],{"id":9523,"slug":9524,"title":9525,"dynasty":109,"author":9526,"museum":78,"description":9527,"tags":9528,"thumbUrl":9529,"material":86,"size":86,"collection":86,"collections":9530,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},234622,"wang-fang-fang-gua-chou-shan-shui-wan-shan-wang-fang-234622","汪昉仿瓜畴山水纨扇","汪昉","汪昉（一七九九－一八七七），字叔明，号菽民，又号啜菽老人，江苏阳湖（今江苏常州）人。清书画家。\n他的仕途经历是道光二十四年（一八四四）举人，官至山东莱州府同知。豪饮善诙谐。初游汤贻汾幕中，与赵兰舟、费丹旭朝夕论画，因善山水。笔意松秀，墨法淹润，不失元人规矩。中年所作，邱壑浑成，树石苍润，颇臻妙境。惜晚年颓废，顿失奏致。书临赵孟頫，姿态秀逸，间作分、隶、尤精鉴赏。有《梦衲贪集》。卒年七十九。《武阳县志、墨林今话续编、桐阴论画、读画辑略、畊砚田斋笔记、清画家诗史》。\n汪昉的山水画在清代来说，属于“四王”正统画派的山水画；他的书法出自赵孟頫书风。读画史，能知道他是从元代文人画入手的，继攻“四王”，当时与以后的评论者评他的早年的山水是“笔意松秀，墨法淹润，不失元人矩矱。中年所作，邱壑浑成，树石苍润，颇臻妙境。”说他的书法，“姿态秀逸”。他的山水画受当时正统山水画派的一代领袖汤贻汾的影响很大。",[24,694,29,28,36,81,32,422,34,273,505,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903eaaac4280761f254d8a113782ecc4.jpg",[],{"id":9532,"slug":9533,"title":896,"dynasty":109,"author":6757,"museum":3090,"description":9534,"tags":9535,"thumbUrl":9536,"material":276,"size":9537,"collection":86,"collections":9538,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},234308,"shan-shui-ce-he-yi-234308","赫奕(生卒年不详）清朝画家。一作颐，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正白旗人。官至工部尚书。性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。卒年七十七。清代绘画在当时政治、经济、思想、文化等方面的影响下，呈现出特定的时代风貌。卷轴画延续元、明以来的趋势,文人画风靡,山水画勃兴，水墨写意画法盛行。文人画呈现出崇古和创新两种趋向。在题材内容、思想情趣、笔墨技巧等方面各有不同的追求，并形成纷繁的风格和流派。谈论画理、画法的理论著作，多论述元代以来的文人画,并侧重于山水画,探讨其历史发展及艺术特点。专论画法的许多著作,往往图文并茂,以图谱形式出现。清 赫奕-山水图册现藏于旅顺博物馆。",[24,27,36,230,29,34,33,31,7,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec31a4d716636ef879ba0054929c3de.jpg","34.6cmx25cm",[],{"id":9540,"slug":9541,"title":6185,"dynasty":18,"author":4892,"museum":138,"description":9542,"tags":9543,"thumbUrl":9544,"material":233,"size":9545,"collection":86,"collections":9546,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},234155,"yun-shan-tu-juan-wen-jia-234155","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,26,27,36,38,37,29,5978,143,142,33,1592,35,30,31,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":9548,"slug":9549,"title":9550,"dynasty":94,"author":813,"museum":96,"description":9551,"tags":9552,"thumbUrl":9553,"material":160,"size":9554,"collection":86,"collections":9555,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,24,25,26,27,36,38,37,58,29,7,30,31,32,63,84,141,550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":9557,"slug":9558,"title":9559,"dynasty":2508,"author":9560,"museum":78,"description":9561,"tags":9562,"thumbUrl":9563,"material":86,"size":86,"collection":86,"collections":9564,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,25,230,27,28,36,29,60,61,7,31,34,33,273,274,771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":9566,"slug":9567,"title":9568,"dynasty":2508,"author":9569,"museum":78,"description":9570,"tags":9571,"thumbUrl":9572,"material":359,"size":360,"collection":86,"collections":9573,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},231586,"shi-ting-shi-dai-han-jiang-du-diao-shan-shui-tu-shou-ye-zheng-xin-231586","室町时代 寒江独钓山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,28,29,7,216,175,215,36,2359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac31b21b8cc2a0b86321841e63b6c93.jpg",[],{"id":9575,"slug":9576,"title":9577,"dynasty":109,"author":1350,"museum":78,"description":9578,"tags":9579,"thumbUrl":9580,"material":86,"size":86,"collection":86,"collections":9581,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,25,26,81,29,33,7,63,175,36,28,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":9583,"slug":9584,"title":9585,"dynasty":18,"author":200,"museum":78,"description":9586,"tags":9587,"thumbUrl":9588,"material":86,"size":86,"collection":86,"collections":9589,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","仿董源夏山图","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,25,26,29,81,28,36,142,33,246,7345,30,31,1052,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":9591,"slug":9592,"title":9593,"dynasty":153,"author":200,"museum":78,"description":9594,"tags":9595,"thumbUrl":9597,"material":86,"size":86,"collection":86,"collections":9598,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[23,24,25,5254,27,28,29,7,9596,33,157,273,58],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":9600,"slug":9601,"title":3245,"dynasty":153,"author":3246,"museum":78,"description":6713,"tags":9602,"thumbUrl":9603,"material":86,"size":86,"collection":86,"collections":9604,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[23,24,25,26,82,27,60,29,7,32,63,31,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":9606,"slug":9607,"title":9608,"dynasty":153,"author":3562,"museum":78,"description":9609,"tags":9610,"thumbUrl":9611,"material":86,"size":86,"collection":86,"collections":9612,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[23,24,25,694,27,36,29,7,32,84,141,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":9614,"slug":9615,"title":896,"dynasty":109,"author":9616,"museum":78,"description":9617,"tags":9618,"thumbUrl":9619,"material":86,"size":86,"collection":86,"collections":9620,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":46},224597,"shan-shui-ce-yuan-ying-224597","袁瑛","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[23,24,28,36,230,29,30,31,7,61,33,34,3999],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":9622,"slug":9623,"title":9624,"dynasty":109,"author":9625,"museum":78,"description":9626,"tags":9627,"thumbUrl":9628,"material":86,"size":86,"collection":86,"collections":9629,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","王时敏","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[23,24,25,28,56,36,29,7,31,30,33,34,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":9631,"slug":9632,"title":9633,"dynasty":153,"author":200,"museum":467,"description":9634,"tags":9635,"thumbUrl":9636,"material":588,"size":9637,"collection":86,"collections":9638,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[23,55,24,25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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[10118,10119,4213,29,60,7,3229],"竹雕","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb197374543e835080631f9a92a23bd1b.jpg",[],{"id":10123,"slug":10124,"title":9388,"dynasty":18,"author":6142,"museum":78,"description":10125,"tags":10126,"thumbUrl":10127,"material":86,"size":86,"collection":86,"collections":10128,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},239195,"shan-chuan-ming-sheng-ce-song-xu-239195","这幅小品以淡设色铺展临江胜景，浅赭花青晕染远山，柔润山色裹挟朦胧雾气，黛墨点苔晕出山峦苍润肌理。雄踞矶头的楼阁层叠飞檐，丹楼黛瓦在烟水间格外醒目。江面上扁舟三两悠然泛波，细笔淡描水纹，晕开烟波浩渺之态。近岸村舍旌旗错落，晕开江畔烟火暖意，左侧山巅隐见层林古寺，与主楼遥遥呼应。\n\n画风清润淡雅，以平远构图铺展楚天开阔之境，将楼阁雄姿与烟江叠嶂相融，淡墨轻岚里晕开江汉间的灵动气韵，尽显潇湘烟水的空濛雅致，暗合文人山水的清远意趣。",[24,28,229,230,36,29,61,31,7,33,273,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2c52a1351ba4ccb07944e50bdeb46.jpg",[],{"id":10130,"slug":10131,"title":896,"dynasty":109,"author":6434,"museum":78,"description":6435,"tags":10132,"thumbUrl":10133,"material":86,"size":86,"collection":86,"collections":10134,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},238994,"shan-shui-ce-yang-jin-238994",[24,25,230,27,28,36,29,7,63,33,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfcfa5914604e653f3fba01cde814e1.jpg",[],{"id":10136,"slug":10137,"title":10138,"dynasty":109,"author":10139,"museum":78,"description":10140,"tags":10141,"thumbUrl":10142,"material":86,"size":86,"collection":42,"collections":10143,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},238271,"wu-jun-xi-shan-sheng-jing-ce-peng-qi-feng-238271","吴郡西山胜景册","彭启丰","彭启丰（1701～1784）字翰文，号芝庭，又号香山老人，江南长洲（今苏州）人，清朝官吏。清代大臣、学者。16岁入官学读书，好学上进。雍正五年（1727）会试第一，殿试时，列为一甲三名，世宗亲拔为第一。官翰林院修撰，乾隆年间历官侍讲、左佥都御史、浙江学政、刑部侍郎、吏部侍郎、兵部尚书。为官40年，以谨慎著称。为了奉养母亲，曾请求辞官；在家中辟园亭，植花竹，拥书万卷，乾隆帝曾赐匾额“慈竹春晖”。主讲于紫阳书院，乾隆三十七年（1772）清廷开馆编纂《四库全书》，广征天下藏书家秘本，江苏省在紫阳书院设书局，分派官员登记造册，由他总理其事。其子亦献书于四库馆数种。所藏书印有“南圃”、“芝庭”、“蓬莱第一峰”、“经筵讲官”等。工于书法，善于绘画，又能诗文，有《芝庭先生集》。",[24,28,29,36,230,63,33,35,142,246,7,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182be133dad35f37be5b2afebc61ce5a.jpg",[42,68],{"id":10145,"slug":10146,"title":6840,"dynasty":18,"author":8530,"museum":78,"description":8531,"tags":10147,"thumbUrl":10148,"material":359,"size":360,"collection":86,"collections":10149,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},237967,"shan-shui-shan-ye-sun-zhi-237967",[24,25,694,29,27,36,306,516,422,174,30,7,1107,31,2868,273,5603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":10151,"slug":10152,"title":10153,"dynasty":18,"author":6451,"museum":78,"description":6452,"tags":10154,"thumbUrl":10155,"material":359,"size":360,"collection":86,"collections":10156,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},237966,"he-tang-fan-zhou-tu-shan-liu-yuan-qi-237966","荷塘泛舟图扇",[24,25,694,27,28,36,29,3999,3853,7,61,31,33,458,175,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ea0ffcf3763bc718d1234df8dbfb2e.jpg",[],{"id":10158,"slug":10159,"title":7237,"dynasty":109,"author":500,"museum":78,"description":2150,"tags":10160,"thumbUrl":10161,"material":86,"size":86,"collection":86,"collections":10162,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},237766,"yuan-ji-shan-shui-tu-ce-shi-tao-237766",[24,27,230,36,25,29,84,31,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662445e86dd448d2670228648e14a762.jpg",[],{"id":10164,"slug":10165,"title":10166,"dynasty":18,"author":3572,"museum":78,"description":10167,"tags":10168,"thumbUrl":10169,"material":86,"size":86,"collection":86,"collections":10170,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":71},237705,"shan-shui-hua-guo-ce-xiang-sheng-mo-237705","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,25,230,27,36,29,7,84,34,505,273,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceba27ea2e170a558cca7e82b35d7d02.jpg",[],{"id":10172,"slug":10173,"title":10174,"dynasty":109,"author":10175,"museum":78,"description":10176,"tags":10177,"thumbUrl":10178,"material":359,"size":360,"collection":42,"collections":10179,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},237640,"li-yin-fang-gu-shan-shui-ce-li-yin-237640","李寅仿古山水册","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[24,25,230,27,38,81,29,7,61,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d15916e4360359e76199e98391e0ee.jpg",[42,319],{"id":10181,"slug":10182,"title":10183,"dynasty":109,"author":10184,"museum":78,"description":10185,"tags":10186,"thumbUrl":10187,"material":359,"size":360,"collection":86,"collections":10188,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},237447,"wu-gu-xiang-ye-yue-qiu-du-shan-mian-wu-gu-xiang-237447","吴穀祥夜月秋渡扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[694,24,25,28,27,36,29,303,7,422,63,505,996,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8712b0fc72e34be9d880bfd2082aeef6.jpg",[],{"id":10190,"slug":10191,"title":10192,"dynasty":18,"author":10193,"museum":78,"description":10194,"tags":10195,"thumbUrl":10196,"material":359,"size":360,"collection":86,"collections":10197,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},237275,"zhi-hua-ce-chen-dao-237275","指画册","陈道","陈道，字常经，生卒年不详。明代广东归善县铁炉湖人。正统八年（1443）贡监，授抚州府推官，代理全府之事务。有一年闹饥荒，陈提出发放仓库里的粮食赈灾。一些府官则说，必须按惯例向上级申请。陈说：“人们都快要饿死了，怎么还能等到申请获得批准？责任由我个人承担，决不连累你们。”仓库的粮食不够赈济，陈就将自己的薪金捐献出去。总共救济了几万灾民。不久上级认为陈专权，严厉责备他。陈不顾自己生活困难，毅然辞职归田。陈对子女管教得很严，规劝子女不要穿华丽的服饰。他的子孙后代，名声很好。",[24,25,230,27,36,29,7,84,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf176e0d948fefdb04cfb21157d455c9.jpg",[],{"id":10199,"slug":10200,"title":4891,"dynasty":18,"author":4892,"museum":78,"description":4893,"tags":10201,"thumbUrl":10202,"material":86,"size":86,"collection":86,"collections":10203,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},236409,"xiao-xiang-ba-jing-ce-wen-jia-236409",[24,25,230,27,28,29,7,31,84,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccacf44e1f4a322f23acbfb295a70237.jpg",[],{"id":10205,"slug":10206,"title":896,"dynasty":18,"author":6407,"museum":78,"description":10207,"tags":10208,"thumbUrl":10209,"material":86,"size":86,"collection":86,"collections":10210,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},235974,"shan-shui-ce-cheng-jia-sui-235974","此作以水墨淡写江景，浅墨晕染岸边苇丛，扁舟扬帆泛于空阔江面，舱中人物隐约可见，大片留白衬出江天寥廓清寂。\n搭配左侧行书题诗，笔致隽秀舒展，诗画相映，将江上渔歌忽断、鹭鸟星散的幽寂意境铺陈开来。\n全作用笔简淡空灵，不施浓彩，尽显萧散淡远之致，把羁旅怅惘与江天沉静相融，淡墨轻岚间藏着幽怀远思，是诗画合一的文人小品，笔墨极简却意蕴悠长。",[24,25,230,27,38,29,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512e96132a9f826764e43acc79525bd7.jpg",[],{"id":10212,"slug":10213,"title":10214,"dynasty":109,"author":6352,"museum":78,"description":10215,"tags":10216,"thumbUrl":10217,"material":86,"size":86,"collection":86,"collections":10218,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},235875,"cheng-cha-zhou-cheng-sui-235875","乘槎轴","此作用笔枯涩苍劲，以一隅之景写尽江天寥廓。近岸怪石槎桠、荒木萧疏，大片留白铺陈寒江，一扁舟随波独行，远景平峦以淡墨轻扫，恍如蜃气浮空。\n\n画幅左上题满诗文，金石质感的书法与简逸山水相映，诗画合璧，将幽人避世的襟怀融于尺幅。枯笔焦墨褪去妍丽，只留清寂淡然，似将尘嚣尽数隔绝于江外，独乘浮槎，与天地沧浪对晤，尽显冷逸超迈的出世之思。",[25,24,27,29,37,58,38,36,7,661,84,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7604bb2aef552bc42153652a7bbcb7c5.jpg",[],{"id":10220,"slug":10221,"title":596,"dynasty":18,"author":10222,"museum":78,"description":10223,"tags":10224,"thumbUrl":10225,"material":359,"size":360,"collection":86,"collections":10226,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},235462,"shan-shui-tu-ce-pan-zheng-235462","潘徵","潘徵 彦宗,又字子述",[24,27,230,36,29,7,174,141,32,31,175,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf288a160fc81e09e1e83153a888f3a.jpg",[],{"id":10228,"slug":10229,"title":8589,"dynasty":109,"author":1406,"museum":138,"description":8590,"tags":10230,"thumbUrl":10231,"material":86,"size":86,"collection":86,"collections":10232,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},234821,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234821",[24,25,230,27,29,7,31,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d8c7036a760a53b283794514f30a12.jpg",[],{"id":10234,"slug":10235,"title":10236,"dynasty":109,"author":10237,"museum":78,"description":10238,"tags":10239,"thumbUrl":10240,"material":86,"size":86,"collection":86,"collections":10241,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},234609,"chun-gou-ting-tu-wan-shan-yang-liu-gu-234609","春钩艇图纨扇","杨柳谷","杨柳谷清江苏常熟人。柳桥弟，画如其兄。\n按《韬养斋笔记》有杨念伯字柳谷，以字行。善画柳，设色参以西法，尤觉生动。山水清超绝俗，尤擅摹古。当为一人。嘉庆十八年（1813年）作山水图，现存北京故宫博物院。其一子，杨裕晖，字少古，善画，能续家法，稍逊乃翁。",[55,24,25,694,28,36,29,1526,59,7,31,247,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8acf6efc66be6f463452bc717e516a.jpg",[],{"id":10243,"slug":10244,"title":10245,"dynasty":109,"author":1350,"museum":138,"description":10246,"tags":10247,"thumbUrl":10248,"material":3508,"size":10249,"collection":86,"collections":10250,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","王翚（1632—1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,25,55,215,27,36,29,550,32,7,34,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":10252,"slug":10253,"title":3196,"dynasty":18,"author":326,"museum":78,"description":2712,"tags":10254,"thumbUrl":10255,"material":86,"size":86,"collection":86,"collections":10256,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},234116,"shan-shui-tu-juan-tang-yin-234116",[24,25,26,28,36,38,37,58,29,7,31,32,63,84,141,30,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":10258,"slug":10259,"title":6351,"dynasty":109,"author":6352,"museum":78,"description":10260,"tags":10261,"thumbUrl":10263,"material":86,"size":86,"collection":86,"collections":10264,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":71},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,24,27,36,215,29,2359,35,30,31,7,34,33,804,10262],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":10266,"slug":10267,"title":4410,"dynasty":18,"author":4411,"museum":78,"description":10268,"tags":10269,"thumbUrl":10270,"material":86,"size":86,"collection":86,"collections":10271,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},228489,"fang-gu-shan-shui-ce-yun-xiang-228489","此作用笔松秀简净，以浅淡青绿晕染远山，烟岚轻笼山峦，将春山晕化为朦胧柔美的黛色剪影，悠远空寂。近岸老树虬枝舒展，枯荣相衬，坡岸错落间水面静敛，渔舟横陈，村舍掩映在淡雾中，江南平畴的清寂春景宛在眼前。\n\n画作师法宋元古意，以淡墨浅彩营造出空灵简淡的意境，不着意雕琢刻画，将山水的静穆生机融于氤氲烟霭里，尽显文人画冲和淡远的审美意趣，悠悠古意随淡彩墨韵漫开，藏着文人寄情林泉的悠然意绪。",[24,25,230,28,56,29,81,36,7,84,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d9cd7eb052e45097c71bd2f625593c.jpg",[],{"id":10273,"slug":10274,"title":10275,"dynasty":94,"author":200,"museum":78,"description":10276,"tags":10277,"thumbUrl":10279,"material":86,"size":86,"collection":86,"collections":10280,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},228214,"du-hai-tu-ye-yi-ming-228214","渡海图页","此作以极简构局营造出清寂空灵的禅意。画面左侧，仙人安卧枯槎之上，随波缓行，神情悠然自适，将乘槎渡海的古雅意趣融于尺幅。淡墨轻勾细波，晕染出辽远空茫的海面，大片留白代以海天辽旷，不着一字而尽得风流，暗合元代尚简尚意的文人审美。笔致清简含蓄，枯槎的苍古与仙人的闲逸相映，将寄迹天地、物我两忘的隐逸之思藏于淡远意境中，静穆悠远的出世之趣扑面而来。",[23,24,25,5254,27,28,60,10278,8944,7],"海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87321fda6d77770c6e633cb609e50cc8.jpg",[],{"id":10282,"slug":10283,"title":10284,"dynasty":153,"author":200,"museum":78,"description":10285,"tags":10286,"thumbUrl":10288,"material":86,"size":86,"collection":86,"collections":10289,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":71},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[23,24,25,10287,694,27,28,29,36,357,157,7,34,33],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":10291,"slug":10292,"title":339,"dynasty":109,"author":8082,"museum":78,"description":10293,"tags":10294,"thumbUrl":10295,"material":86,"size":86,"collection":86,"collections":10296,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,24,25,215,28,27,29,31,7,33,34,58,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":10298,"slug":10299,"title":10300,"dynasty":94,"author":1871,"museum":269,"description":10301,"tags":10302,"thumbUrl":10303,"material":1178,"size":10304,"collection":86,"collections":10305,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":71},221866,"cheng-jiang-han-yue-tu-zhao-yong-221866","澄江寒月图","此图为《唐宋元集绘册》中的第十四幅。作者用大片的空白和淡墨淡彩渲染出一种空旷寒峭的境界。\n画面中一轮圆月当空，江水苍茫，隐约可见远山起伏。近岸巨石枯树，有一孤舟停泊，仓内一人独坐。",[23,694,24,25,38,28,29,7,303,174,141,792],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa397f5a6352c3ac829dc31fde3ebbda3.jpg","纵：25.5厘米，横：24.8厘米",[],{"id":10307,"slug":10308,"title":10309,"dynasty":18,"author":51,"museum":20,"description":10310,"tags":10311,"thumbUrl":10312,"material":100,"size":10313,"collection":86,"collections":10314,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":71},219764,"lin-song-ren-hua-ce-14-chou-ying-219764","临宋人画册-14","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,25,230,229,57,28,81,61,7,29,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022ce06c0e081f771f4d673e5d15bed6.jpg","27.2x25.5厘米",[],{"id":10316,"slug":10317,"title":10318,"dynasty":18,"author":9039,"museum":171,"description":9040,"tags":10319,"thumbUrl":10320,"material":40,"size":86,"collection":86,"collections":10321,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},219071,"xiao-xiang-ba-jing-ce-2-zhang-fu-219071","潇湘八景册-2",[23,24,27,28,230,36,29,7,33,35,1399,505,3872,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac73debdcee6c35a13a33c73a553724.jpg",[],{"id":10323,"slug":10324,"title":10325,"dynasty":18,"author":9039,"museum":171,"description":9040,"tags":10326,"thumbUrl":10327,"material":40,"size":9043,"collection":86,"collections":10328,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},219066,"xiao-xiang-ba-jing-ce-5-zhang-fu-219066","潇湘八景册-5",[23,24,27,29,230,2036,357,7,273,36,34,505,143,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c50ead1d3939511b18b28649db1b2d4.jpg",[],{"id":10330,"slug":10331,"title":10332,"dynasty":109,"author":3237,"museum":188,"description":10333,"tags":10334,"thumbUrl":10335,"material":40,"size":86,"collection":86,"collections":10336,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":46},215021,"fang-gu-shan-shui-ce-9-wang-jian-215021","仿古山水册-9","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,25,230,28,29,36,31,7,33,35,30,996,1107,868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a24b1956f09fca82af136b3260eb23.jpg",[],{"id":10338,"slug":10339,"title":10340,"dynasty":5531,"author":10341,"museum":20,"description":10342,"tags":10343,"thumbUrl":10344,"material":86,"size":86,"collection":42,"collections":10345,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":10346},203397,"lin-ni-yuan-lu-shan-shui-tu-zhou-wu-zheng-203397","临倪元璐山水图轴","吴徵","层峦叠嶂间，苍松挺秀于岩畔，虬枝盘曲，松针细密如簇；山径蜿蜒穿林而过，隐见红衣人影点缀，添几分生机。远处江天辽阔，烟波浩渺中孤舟泛波，远山如黛，亭台倚于峭壁，清旷悠远之致油然而生。用笔苍劲含秀逸，山石以皴法写肌理，墨色浓淡相宜，设色淡雅含蓄，既循倪元璐笔意，又融自家情韵，尽显传统山水笔墨情趣与文人风骨，静谧深邃的意境引人入胜。",[29,81,36,28,816,7,32,27,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2bbbf9c1da95d99346ea8593f575d39.jpg",[42],"b1a79b",{"id":10348,"slug":10349,"title":10350,"dynasty":18,"author":10351,"museum":20,"description":10352,"tags":10353,"thumbUrl":10354,"material":86,"size":86,"collection":42,"collections":10355,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":10356},203385,"za-hua-ce-guo-xu-203385","杂画册","郭诩","笔墨简括灵动，淡墨铺陈远山，晕染出朦胧层叠之态；浓墨点染树木，枝桠虬劲，生意盎然。近岸茅舍隐于林间，旁伴轻舟，水面如练，映带远山，营造出清寂悠远的意境。画中无多余赘笔，以少胜多，尽显文人画的疏淡与空灵，仿佛可闻林泉间的幽响。",[27,29,230,7,84,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132c4007adc55f37b913150763a8273b.jpg",[42],"c6bdb1",{"id":10358,"slug":10359,"title":10360,"dynasty":18,"author":5482,"museum":20,"description":10361,"tags":10362,"thumbUrl":10363,"material":86,"size":86,"collection":42,"collections":10364,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":10365},203329,"wu-zhong-shi-jing-tu-ce-li-liu-fang-203329","吴中十景图册","画面中山峦层叠，峰顶楼阁隐现于林木间，笔墨清润雅致。山石以简洁皴法勾勒肌理，树木点染相生，尽显苍劲秀逸之态；近景水面开阔，扁舟轻漾，岸边屋舍错落，草木扶疏，江南水乡的温润气息扑面而来。整体意境宁静悠远，以淡雅水墨勾勒出吴中胜景的空灵之美，传递出文人对自然的深情眷恋与清雅意趣，于尺幅间见天地之阔。",[24,27,29,61,7,36,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038e5827110135c483481fb1fdcf0951.jpg",[42],"c2b19a",{"id":10367,"slug":10368,"title":2750,"dynasty":5531,"author":10369,"museum":20,"description":10370,"tags":10371,"thumbUrl":10373,"material":86,"size":86,"collection":42,"collections":10374,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":10375},202993,"shan-shui-tu-zhou-hu-pei-heng-202993","胡佩衡","这幅山水图以水墨写意营造悠远意境，峰峦叠嶂间云雾缭绕，墨色浓淡相衬，皴擦点染兼具，山石肌理尽显苍劲。近景松枝虬劲，临水而立；中景流水潺潺，小桥横卧，一蓑笠翁独钓其间，添得几分闲适。远山隐现，古塔尖顶破云而出，与苍茫山势相映成趣。整幅画气韵生动，既有传统山水的笔墨韵味，又透出清寂悠远的文人气息，将自然之美与心境之静融于一纸。",[24,27,29,36,30,7,216,5452,10372,143,215,23],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963d007aa8f0f5bce725b838f647933f.jpg",[42],"d0c8b1",{"id":10377,"slug":10378,"title":2529,"dynasty":109,"author":10379,"museum":20,"description":10380,"tags":10381,"thumbUrl":10382,"material":86,"size":86,"collection":42,"collections":10383,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":10384},202245,"xi-hu-tu-juan-mo-er-sen-202245","莫尔森","长卷舒展，西湖景致徐徐铺陈。烟波轻笼的湖面之上，洲岛错落，亭台楼阁隐于葱茏林木间，或依岸筑居，或临水而建，尽显江南雅致。远处山峦层叠，皴法勾勒岩壑肌理，草木点缀生机；近处堤岸蜿蜒，树影婆娑，偶有孤舟泛波，添得几分闲适。设色淡雅清新，工笔细绘与写意晕染相融，既捕捉西湖山水的自然灵韵，又含人文栖居的温润气息，将湖光山色的宁静悠远凝于尺幅之间。",[24,26,29,28,32,61,7,57,36,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumb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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。",[23,694,24,27,29,7,1176,37,58,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be58bb9d81bb2794a634ee2dc2ac48.jpg",[],{"id":10440,"slug":10441,"title":10442,"dynasty":153,"author":200,"museum":78,"description":10443,"tags":10444,"thumbUrl":10445,"material":359,"size":360,"collection":86,"collections":10446,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},289781,"jiang-fan-shan-shi-tu-yi-ming-289781","江帆山市图","此作以水墨晕染铺就江南烟景，左侧危崖高耸，墨色皴擦浑厚苍劲，山间村居错落隐于林木烟霭，晕开乡野安谧意趣。转而望向江面，波色澹澹间两艘舟楫悠然浮行，一帆舒展，舟上人物情态宛然，将江上行旅的闲逸尽致铺展。远景山峦晕染朦胧，以留白衬出水天辽远，虚实相生间糅合乡居恬然与江行自在。\n\n全作用笔简淡却意韵悠长，淡墨轻岚揉出空濛柔润的江南氤氲之态，将宋人尚意的山水哲思藏于尺幅，平朴中见烟火生机，淡远中含脉脉温情，尽显山水小品的雅致意境。",[24,55,27,29,7,61,32,31,34,36,58,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde9acd89e4f6d77f13315c05098658f.jpg",[],{"id":10448,"slug":10449,"title":339,"dynasty":153,"author":443,"museum":78,"description":1018,"tags":10450,"thumbUrl":10451,"material":359,"size":360,"collection":86,"collections":10452,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":71},289770,"shan-shui-tu-guo-zhong-shu-289770",[23,24,245,28,36,29,7,63,84,30,35,246,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379069d1ed23b59d2210624377be955a.jpg",[],{"id":10454,"slug":10455,"title":2366,"dynasty":153,"author":200,"museum":78,"description":10456,"tags":10457,"thumbUrl":10458,"material":359,"size":360,"collection":86,"collections":10459,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":71},288278,"yuan-shui-yang-fan-tu-yi-ming-288278","近岸怪石嶙峋，古木虬枝舒展，浓荫掩映间茅舍半露，策杖行人携稚仆缓步坡头，野逸生趣扑面而来。\n浩渺烟波里，扬帆舟楫破水而行，远山以淡墨轻晕，融在氤氲水雾中。近景繁细皴擦，尽显林木蓊郁苍劲；远景简淡留白，晕出水天寥廓空濛。\n整幅以平远之境铺展江南水色，将行旅闲情与扬帆远渡的悠然揉入尺幅，笔简意足，尽显淡远清旷的诗意，藏着寄情山水的雅致襟怀。",[24,55,25,29,27,28,7,31,32,33,60,158,58,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3145eb6c428482d1adc39047f5990c26.jpg",[],{"id":10461,"slug":10462,"title":10463,"dynasty":94,"author":3340,"museum":78,"description":8817,"tags":10464,"thumbUrl":10465,"material":359,"size":360,"collection":86,"collections":10466,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},287551,"qing-chuan-song-ke-tu-zhuang-biao-ban-zhao-yuan-287551","晴川送客图（装裱版）",[24,55,27,215,29,60,7,31,141,33,142,2902,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafaaded2cacd68c421ae104c8d7dbe1.jpg",[],{"id":10468,"slug":10469,"title":10470,"dynasty":18,"author":51,"museum":78,"description":5308,"tags":10471,"thumbUrl":10472,"material":359,"size":360,"collection":86,"collections":10473,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},287402,"bei-hu-tu-shou-juan-chou-ying-287402","北湖图手卷",[23,24,26,25,29,28,57,37,3814,38,58,30,31,7,63,61,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668d4ab35bf9efef317abd774bd6b621.jpg",[],{"id":10475,"slug":10476,"title":10477,"dynasty":18,"author":200,"museum":78,"description":10478,"tags":10479,"thumbUrl":10481,"material":359,"size":360,"collection":86,"collections":10482,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},283634,"yu-yu-yu-qing-tu-yi-ming-283634","欲雨欲晴图","此作用米家山水的晕染之法，绘就江南烟霭迷离之景。远景山峦隐没在翻涌云岚间，墨色轻淡柔和，虚实掩映间衬出山光断处的幽远意境。近景汀洲水岸边，村居错落隐在葱郁林木中，板桥连通两岸，扁舟系在浅滩，漾出水乡安闲静穆的日常意趣。\n\n画面以水墨晕染尽显欲雨将晴的湿润空蒙，水汽漫过江渚，笼住层林远山，将江南湿润清宁的氛围感拉满。留白与墨色相融相生，把天地间的朦胧柔婉尽数铺展，带着文人画独有的雅致诗意，观之如亲赴烟雨中的江南水乡，静赏闲淡日常，尽显山水画平淡天真的隽永意趣。",[23,24,55,245,27,28,30,31,7,35,142,143,33,37,58,10480,3311],"欲雨欲晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a0a5ee8f2e9049eb7b495a8bba539d.jpg",[],{"id":10484,"slug":10485,"title":10486,"dynasty":109,"author":200,"museum":78,"description":1375,"tags":10487,"thumbUrl":10489,"material":359,"size":360,"collection":86,"collections":10490,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":71},273085,"mu-bian-ke-si-shan-shui-wen-gua-ping-yi-ming-273085","木边缂丝山水纹挂屏",[1377,10488,29,61,30,31,7,142,33,446,28],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56d048d20f874f83c710731f1600f71.jpg",[],{"id":10492,"slug":10493,"title":10494,"dynasty":109,"author":10495,"museum":78,"description":10496,"tags":10497,"thumbUrl":10504,"material":359,"size":360,"collection":86,"collections":10505,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},241364,"gu-shi-she-jiang-ping-wang-yun-241364","古诗涉江屏","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。",[37,1701,215,10498,83,7,10499,10500,305,10501,10502,10503],"芙蓉","白露","秋花","箫管","怀人","愁郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e08cda56e32701bf708d9dc98d2c16d.jpg",[],{"id":10507,"slug":10508,"title":10509,"dynasty":18,"author":200,"museum":78,"description":10510,"tags":10511,"thumbUrl":10513,"material":86,"size":86,"collection":86,"collections":10514,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":71},239310,"cha-shao-liang-mo-bi-yu-fu-tu-shan-mian-yi-ming-239310","查劭良墨笔渔父图扇面","此作用金笺墨笔绘就江渚幽居之景，疏柳欹斜，条叶舒展含风，湖石错落映带浅滩。扁舟横泊，渔父隐于舱中，静享江天寥廓闲逸。\n\n笔墨简逸苍润，以写意之笔勾勒点染，脱尽繁缛，淡墨晕染出江南水畔清寂空疏的氛围。题识与画境相融，以极简笔意藏起江湖渔隐的恬然自适，寥寥数笔便将幽独萧散的隐逸之思烘托尽致，尽显文人画以画明志、遣兴抒怀的精妙意韵。",[24,694,27,10512,36,29,7,216,175,1526,34,247],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496ed84ecdee9172809f4eaddc0f3c5e.jpg",[],{"id":10516,"slug":10517,"title":9388,"dynasty":18,"author":6142,"museum":78,"description":10518,"tags":10519,"thumbUrl":10520,"material":86,"size":86,"collection":86,"collections":10521,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},239196,"shan-chuan-ming-sheng-ce-song-xu-239196","此作以平远之法绘就江南水色，开阔湖面铺展画面，汀渚错落浮沉于烟波间，远山以淡墨轻扫，晕染出朦胧悠远的天际。近岸林木蓊郁，古木扶疏间隐现朱檐楼阁与临水廊榭，雅致静谧。水面之上渔舟泛波、飞鸟掠影，灵动点缀间漾开鲜活生机。\n\n笔墨简淡秀润，以赭色轻敷底色，整体设色清雅古朴，将江南水畔的悠然野趣尽数铺陈，笔墨间裹挟着文人心底的闲淡意绪，尽显空灵疏朗的山水意韵。",[24,28,230,29,36,33,61,30,31,7,63,273,2210,2868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F536f529cbe3ea7f7312d041f06ba0ec3.jpg",[],{"id":10523,"slug":10524,"title":9388,"dynasty":18,"author":6142,"museum":78,"description":6964,"tags":10525,"thumbUrl":10526,"material":86,"size":86,"collection":86,"collections":10527,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":71},239188,"shan-chuan-ming-sheng-ce-song-xu-239188",[24,25,230,28,29,7,63,32,33,158,31,481,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beed5e7c4bbda589082a4279bbfbf2b.jpg",[],{"id":10529,"slug":10530,"title":896,"dynasty":109,"author":5449,"museum":78,"description":10531,"tags":10532,"thumbUrl":10533,"material":86,"size":86,"collection":42,"collections":10534,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":71},238312,"shan-shui-ce-dong-bang-da-238312","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,27,36,230,29,30,31,7,33,35,142,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401a8f7deacb8e6ea14fd07f3dd0895c.jpg",[42,131],{"id":10536,"slug":10537,"title":10538,"dynasty":18,"author":200,"museum":78,"description":10539,"tags":10540,"thumbUrl":10541,"material":359,"size":360,"collection":86,"collections":10542,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},237805,"shao-mi-chun-xi-fang-zhao-shan-yi-ming-237805","邵弥春溪放棹扇","此作用笔简淡清逸，以淡墨晕染出春日水畔之景。柔柳垂枝披拂水岸，笔墨松灵，尽现柳条依依之态。水面留白成境，扁舟一人悠然放棹，静中生趣。远山以浅淡写意勾勒，朦胧澹远，似含烟霭。\n全幅以简驭繁，虚实相生，将江南春溪的清寂闲趣收拢于尺幅之内，晕染出幽澹空濛的诗意，尽显文人寄情林泉的隐逸意趣，寥寥数笔便烘托出恬和悠远的意境，余韵悠长。",[5712,694,24,27,82,1526,157,7,29,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F493b9f515347f5763e0dd5d831dc606c.jpg",[],{"id":10544,"slug":10545,"title":10546,"dynasty":109,"author":2054,"museum":78,"description":10547,"tags":10548,"thumbUrl":10549,"material":86,"size":86,"collection":86,"collections":10550,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},236575,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236575","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[24,25,230,27,38,58,36,29,422,7,60,32,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa500eae7a23d41f6746de1ac5b6f218e.jpg",[],{"id":10552,"slug":10553,"title":896,"dynasty":109,"author":9403,"museum":78,"description":10554,"tags":10555,"thumbUrl":10556,"material":128,"size":86,"collection":86,"collections":10557,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},236506,"shan-shui-ce-cheng-ming-236506","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[24,27,36,29,7,34,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9893caaefcd308bd326536d50725541.jpg",[],{"id":10559,"slug":10560,"title":4891,"dynasty":18,"author":4892,"museum":78,"description":4893,"tags":10561,"thumbUrl":10562,"material":86,"size":86,"collection":86,"collections":10563,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},236407,"xiao-xiang-ba-jing-ce-wen-jia-236407",[24,25,230,27,36,29,7,31,33,273,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17840496ebd71800766d5e7df5ecb21f.jpg",[],{"id":10565,"slug":10566,"title":4891,"dynasty":18,"author":4892,"museum":78,"description":4893,"tags":10567,"thumbUrl":10568,"material":86,"size":86,"collection":86,"collections":10569,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},236406,"xiao-xiang-ba-jing-ce-wen-jia-236406",[24,27,29,230,36,7,31,33,273,2210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bde81821e696b755d18fe93ab41a32d.jpg",[],{"id":10571,"slug":10572,"title":896,"dynasty":18,"author":10573,"museum":78,"description":10574,"tags":10575,"thumbUrl":10576,"material":359,"size":360,"collection":86,"collections":10577,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},235350,"shan-shui-ce-zhang-fu-yang-235350","张复阳","张复阳(约1403—1490)， 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破墨山水图",[23,24,55,215,10671,27,36,25,38,37,58,29,7,422,306,516,32],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":10675,"slug":10676,"title":10677,"dynasty":109,"author":10678,"museum":78,"description":10679,"tags":10680,"thumbUrl":10681,"material":86,"size":86,"collection":86,"collections":10682,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":182},231364,"shen-qiu-cheng-gan-tu-wang-gai-231364","深秋撑杆图","王盖","淡墨晕开深秋清寂，寒林虬枝交错，将萧索疏朗铺满卷间。轻烟漫过林梢，晕出朦胧天际，把湿冷秋意揉进了空气里。\n\n溪上架起板桥，扁舟穿桥缓行，撑杆人垂敛神态，任流水载着小舟漫溯，隔绝了尘嚣。岸畔枯木杂丛错落，淡赭融着墨色，衬得秋水愈发清浅空阔。\n\n全作用色素净浅淡，不着浓艳，却将晚秋的沉静通透铺陈尽致。动舟与静林相映，萧索秋景晕开松弛安闲，清冷底色里藏着悠然禅意，把晚秋闲静况味细细诉尽。",[23,24,27,28,29,30,7,661,84,36,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d19d2061c64f9ac3e394db5d4f57b8.jpg",[],{"id":10684,"slug":10685,"title":1026,"dynasty":18,"author":3388,"museum":78,"description":10686,"tags":10687,"thumbUrl":10688,"material":359,"size":360,"collection":86,"collections":10689,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},230991,"yu-le-tu-zhou-chen-230991","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[24,25,29,175,57,36,27,28,7,216,31,30,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":10691,"slug":10692,"title":10693,"dynasty":18,"author":10694,"museum":78,"description":10695,"tags":10696,"thumbUrl":10697,"material":86,"size":86,"collection":86,"collections":10698,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","袁尚统","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,24,25,215,27,36,29,60,574,61,7,174,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":10700,"slug":10701,"title":10702,"dynasty":94,"author":200,"museum":78,"description":10703,"tags":10704,"thumbUrl":10705,"material":86,"size":86,"collection":86,"collections":10706,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":182},228228,"xing-lv-tu-ye-yi-ming-228228","行旅图页","此作用笔简淡苍润，以水墨晕染出江南水岸的清寂之境。左畔危崖耸峙，古松斜出探向江面，崖腰古亭半掩，山道上旅人缓步徐行，衬出林泉丘壑的悠远空阔。汀洲上虬松错落，枝干古拙有姿，与崖岸松色遥相呼应。江面淡墨轻描，远帆与渔舟错落波上，寥寥笔意铺展水天空濛。\n\n整幅简而不空，淡而有味，以极简笔墨勾勒出山水行旅的幽闲意趣，尽显萧散淡远的文人意韵，将林泉高致与江湖野趣融于尺幅间，藏着幽寂闲淡的山水真味。",[23,24,27,29,36,230,60,61,7,63,34,31,58,562,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46616df25f9b51e1b52cfac683349316.jpg",[],{"id":10708,"slug":10709,"title":10710,"dynasty":153,"author":200,"museum":78,"description":10711,"tags":10712,"thumbUrl":10714,"material":86,"size":86,"collection":86,"collections":10715,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[55,24,25,694,28,57,458,10713,505,33,29,7,60],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":10717,"slug":10718,"title":10719,"dynasty":18,"author":200,"museum":78,"description":10720,"tags":10721,"thumbUrl":10722,"material":233,"size":10723,"collection":86,"collections":10724,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,24,25,26,27,38,29,30,31,7,32,33,1687,868,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":10726,"slug":10727,"title":10728,"dynasty":18,"author":9039,"museum":171,"description":9040,"tags":10729,"thumbUrl":10731,"material":40,"size":9043,"collection":86,"collections":10732,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},219068,"xiao-xiang-ba-jing-ce-4-zhang-fu-219068","潇湘八景册-4",[23,24,10730,230,29,7,63,32,174,35,141,36],"水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62d0b3be84d63ac8951b6a29c47fd5af.jpg",[],{"id":10734,"slug":10735,"title":10736,"dynasty":18,"author":766,"museum":3090,"description":10737,"tags":10738,"thumbUrl":10739,"material":40,"size":86,"collection":86,"collections":10740,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":71},217910,"shi-ji-jun-chen-gu-shi-tu-2-zhang-hong-217910","史记君臣故事图-2","小舟轻漾于粼粼水面，篙尖点破涟漪，舟中二人姿态鲜活——一人持篙稳坐，臂弯发力间似可闻水声；一人提鱼转身，指尖悬着的鱼鳍犹带湿意，似与同伴低语渔获之喜。岸畔草木葱茏，枝叶以细劲笔触勾描，墨色浓淡间藏着自然生趣；坡上数人衣纹简练，或立或倾，神态悠然，似在观望着舟中情景。水面以淡墨晕染，质感清润如镜；远山近树的层次，借线条与墨色的变化悄然铺展。整幅画将渔舟的日常鲜活与历史叙事的悠远感相融，笔墨雅致却不失生动，仿佛能让人嗅到水乡的湿润气息，静享这一刻的恬淡与意趣。",[24,28,57,60,7,31,33,996,175,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9999aa483f137374deea3b0b658f33c3.jpg",[],{"id":10742,"slug":10743,"title":10744,"dynasty":109,"author":10745,"museum":96,"description":10746,"tags":10747,"thumbUrl":10748,"material":40,"size":86,"collection":86,"collections":10749,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":46},214724,"shan-shui-ce-ye-2-hu-gui-214724","山水册页-2","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[24,28,230,29,63,7,33,35,1109,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbcc1ea5b7a5e184f006d93e6a8178a.jpg",[],{"id":10751,"slug":10752,"title":10753,"dynasty":18,"author":2249,"museum":20,"description":10754,"tags":10755,"thumbUrl":10756,"material":86,"size":86,"collection":42,"collections":10757,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":10758},203375,"jin-ling-shi-ba-jing-tu-ce-wen-bo-ren-203375","金陵十八景图册","笔墨清润秀雅，山峦以披麻皴皴染结合，勾勒金陵丘壑灵秀。近景林木葱茏，中景村落隐现烟霭间，远景江天浩渺，孤舟轻泛。构图疏密有致，意境悠远，既得自然野趣，又含文人书卷气，将金陵胜景的温婉与壮阔融于咫尺册页，尽显江南山水的诗意静谧。",[24,230,27,28,36,29,7,1220,2085,2737,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eac81cc328c61fbe1a2960154c70f5.jpg",[42],"d5cabd",{"id":10760,"slug":10761,"title":896,"dynasty":109,"author":10762,"museum":20,"description":10763,"tags":10764,"thumbUrl":10766,"material":86,"size":86,"collection":42,"collections":10767,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":10768},203307,"shan-shui-ce-fan-qi-203307","樊圻","画面分两帧，一帧峰峦陡起，皴笔皴擦出嶙峋肌理，青绿设色晕染出苍润质感，山脚茅屋疏树，牧群悠然，野趣横生；另一帧江波平展，岸石错落，孤舟轻漾，林木萧疏，笔墨清逸雅致。两帧皆融宋元山水之沉郁与文人画之逸韵，景物鲜活，意境淡远，尽显自然意趣与笔墨情致。",[28,36,230,29,7,329,174,10765,34,1220,23],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17320e032e43b0139c0e9d4c61b4632f.jpg",[42],"a68c6c",{"id":10770,"slug":10771,"ti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。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[109,230,38,37,10903,7,29,5717,10904,10498,3884],"西湖","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90636a70ad449b4b9292a60752b76474.jpg",[],{"id":10908,"slug":10909,"title":10910,"dynasty":109,"author":10911,"museum":78,"description":10912,"tags":10913,"thumbUrl":10915,"material":233,"size":86,"collection":849,"collections":10916,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},241321,"qi-lv-zhou-liang-guo-zhi-241321","七律轴","梁国治","梁国治（1723—1786），清代书法家，字阶平，号瑶峰，一号丰山，又号梅塘，浙江会稽（今绍兴）人。\n乾隆十三年（1748）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书。以经术勤吏治，清俭自守，好学爱才，治事敬慎缜密。有《敬思堂文集》。曾充任《四库全书》副总裁。卒谥文定。\n梁国治，清朝大臣。清代上虞中塘梁巷（又说为浙江会稽，今绍兴）人。天资聪颖，博通经史，工制艺。乾隆十三年中状元，先授编修，后充日讲起居官、国子监司业。二十一年接任广东道员二十五年，移署粮驿道。因政绩卓著，擢督察院左副都御史、吏部左侍郎。广东总督杨廷璋追论其在署粮驿道时失察家人舞弊，被夺职。后起授山西冀宁道，迁江苏学政、湖南布政使、湖北巡抚。乾隆三十四年（1769），署湖广总督，兼荆州将军。赈济灾民。三十六年，移湖南巡抚。从征金川，治军械，造弹药，筹军费，业绩卓著。三十八年召还，命在军机处行走。次年授户部侍郎，迁户部尚书，四十八年，协办大学士，五十年，累迁至东阁大学士兼军机大臣、户部尚书，并先后任广东、江西、顺天乡试正考官，又充任过《四库全书》副总裁。平生治事缜密，不徇私情，廉政清俭，俸入随手即尽。乾隆下谕赞称其“品学端醇，小心谨慎，扬历中外”。工书法，著有《敬思堂文集》。卒于乾隆五十一年，赠太子太保，谥文定。",[215,38,37,58,27,7,10914,63,29,59],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982a86984c6fb1ab11ebf061f12708d3.jpg",[849],{"id":10918,"slug":10919,"title":10920,"dynasty":109,"author":10921,"museum":78,"description":10922,"tags":10923,"thumbUrl":10924,"material":359,"size":360,"collection":86,"collections":10925,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},240427,"deng-shi-ru-shi-zhou-deng-shi-ru-240427","邓石如诗轴","邓石如","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[215,25,37,38,27,303,2348,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8dc70ee3ff9183b7286fe35285b624.jpg",[],{"id":10927,"slug":10928,"title":10929,"dynasty":109,"author":10930,"museum":78,"description":10931,"tags":10932,"thumbUrl":10933,"material":359,"size":360,"collection":42,"collections":10934,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},239499,"lv-bi-shan-shui-ce-lv-bi-239499","吕璧山水册","吕璧","此作为书画对开，右侧绘平远水色：浅滩岸柳扶风，枝叶含烟，湖面扁舟轻泛，渔人悠然。远山以淡墨晕染，虚实掩映，尽显江南水泽清旷空濛之致，笔墨秀润简约，意境幽寂淡远。左侧行书题诗，笔意疏朗俊逸，墨色浓淡相宜，诗境与画境呼应相合，将文人画诗画交融的意趣挥洒尽致，尽显清雅简淡的文人心境与审美意涵。",[24,25,230,27,29,36,306,516,84,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e148bed07c3295c76c3c1c3fd874cf.jpg",[42,68],{"id":10936,"slug":10937,"title":10938,"dynasty":18,"author":6478,"museum":78,"description":10939,"tags":10940,"thumbUrl":10941,"material":359,"size":360,"collection":86,"collections":10942,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},239476,"qu-jiang-xian-fang-shan-zhang-fu-239476","曲江仙舫扇","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[694,24,25,27,36,29,61,32,7,33,31,34,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ab7bb7e7633b3bb346844f892a0546.jpg",[],{"id":10944,"slug":10945,"title":9388,"dynasty":18,"author":6142,"museum":78,"description":6964,"tags":10946,"thumbUrl":10947,"material":359,"size":360,"collection":86,"collections":10948,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},239186,"shan-chuan-ming-sheng-ce-song-xu-239186",[24,25,55,230,28,27,29,422,61,505,7,481,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d58d3fc454b87ee29b083f3fbe22d6c.jpg",[],{"id":10950,"slug":10951,"title":10952,"dynasty":18,"author":10953,"museum":78,"description":10954,"tags":10955,"thumbUrl":10956,"material":359,"size":360,"collection":86,"collections":10957,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[24,215,27,36,29,370,305,673,7,216,174,34,61,35,1130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],{"id":10959,"slug":10960,"title":9827,"dynasty":109,"author":5638,"museum":78,"description":5639,"tags":10961,"thumbUrl":10962,"material":86,"size":86,"collection":86,"collections":10963,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},238816,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238816",[24,28,36,29,33,31,7,34,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25528e66696459b7fdfd69c8a194a188.jpg",[],{"id":10965,"slug":10966,"title":10967,"dynasty":109,"author":5449,"museum":78,"description":10968,"tags":10969,"thumbUrl":10970,"material":86,"size":86,"collection":86,"collections":10971,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},238717,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238717","画弘历和江文通诗意图册","此作用笔清润秀雅，以虚实相生之法铺陈意境。右侧崖石苍劲，古木盘虬，大船泊于崖下，白帆半张，舱中文人凭舷观浪，似将趁长风远游。左侧水面以大片留白衬出烟波浩渺，远山以淡墨晕染，淡远朦胧。\n\n山石仅以简淡皴擦勾勒肌理，水波线条灵动婉转，将浪涛轻涌之态尽显。题诗与画境呼应，把乘舟访胜的隐逸快意融于水墨间，淡逸萧散的气韵里藏着寻仙向远的浪漫意趣，尽显文人山水小品悠然空灵之美。",[24,25,230,82,27,29,60,7,31,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f36b9fc2fb48b1caf1402cc12ddc2f.jpg",[],{"id":10973,"slug":10974,"title":10975,"dynasty":109,"author":10976,"museum":78,"description":10977,"tags":10978,"thumbUrl":10979,"material":359,"size":360,"collection":86,"collections":10980,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},237956,"ding-zhou-guan-yan-tu-ye-zhou-dao-237956","仃舟观雁图页","周道","江岸巉岩缀着苍润草木，扁舟轻系，舟中白衣士人静静凝望远空归雁。江天寥廓，淡墨晕染的远山混融在暮霭里，水色天光漫成一片柔润朦胧。\n\n题诗与画境相生，将暮春送别后的清寂揉进笔墨，桃花春水、空山飞燕，把缱绻怅惘尽藏在淡远笔致中。笔致淡简秀雅，设色素净空灵，将江南暮春的柔婉与林下幽人的闲远襟怀熔于一炉，淡远疏朗间漾着沉静诗意，尽显文人画寄兴遣怀的雅致，把隐逸闲情藏进江天暮色。",[24,25,230,27,28,38,58,29,7,63,141,31,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F272439c9531a1f9322cf97f3540fb749.jpg",[],{"id":10982,"slug":10983,"title":7765,"dynasty":109,"author":6434,"museum":78,"description":6435,"tags":10984,"thumbUrl":10985,"material":86,"size":86,"collection":86,"collections":10986,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},237877,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237877",[24,25,230,27,36,1442,29,306,422,7,2868,246,1107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e91f0bc7b811b87878217c1b5bff2b.jpg",[],{"id":10988,"slug":10989,"title":896,"dynasty":18,"author":6407,"museum":78,"description":10990,"tags":10991,"thumbUrl":10992,"material":86,"size":86,"collection":86,"collections":10993,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},235972,"shan-shui-ce-cheng-jia-sui-235972","此作用笔极简淡空灵，右侧江岸柳丝垂曳，扁舟横卧，舟中一人静默独坐，远山以淡墨轻扫晕染，留白铺就出悠悠江天，萧散清寂之意扑面而来。左侧小楷题诗与画境呼应，将幽栖江上、洗耳忘世的隐逸心境缓缓铺陈。整体笔墨松秀简远，以少胜多，将山水之境与文人避世孤高的情怀相融，尽显尚淡尚简的文人意趣，诗画共生，勾勒出静穆孤高的出世之境，淡远悠长的余韵萦于纸间。",[24,25,230,82,27,38,58,29,7,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40651cb5e6ba690152fdc31a26835ca1.jpg",[],{"id":10995,"slug":10996,"title":896,"dynasty":109,"author":6659,"museum":78,"description":10997,"tags":10998,"thumbUrl":10999,"material":86,"size":86,"collection":86,"collections":11000,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},235553,"shan-shui-ce-zhu-chang-235553","此作以平远法铺展湖山胜景，淡墨晕染空濛湖面，两岸丘峦以松灵笔触皴擦出浅淡肌理，草木蓊郁尽显清幽野趣。湖心树荫下，扁舟横陈，幽人独坐静享林泉闲意，右侧矶岩上朱红小亭鲜亮醒目，为清冷水墨晕开一抹暖意。\n\n题诗与画境相衬，将幽居避世的雅趣融于笔墨间，整体墨色清润淡雅，留白烘托出水天色空寂萧散的意境，尽显简逸冷寂的审美意趣，以极简笔墨勾勒出世外幽居的静穆之美，藏着文人寄情山水、栖心林泉的隐逸襟怀。",[24,25,230,27,28,29,7,33,34,246,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8586f4f043500662afafcd90601f7241.jpg",[],{"id":11002,"slug":11003,"title":11004,"dynasty":109,"author":11005,"museum":78,"description":11006,"tags":11007,"thumbUrl":11008,"material":359,"size":360,"collection":86,"collections":11009,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},235162,"shan-shui-ren-wu-tu-shan-ye-wen-nan-235162","山水人物图扇页","文柟","文柟（1596年～1667年），字曲榬，号溉庵，苏州府长洲（今属江苏）人，文从简子，邑庠生。狷介绝俗，能诗，尝手摘仕一史，寓伤今吊古之怀。明末清初书画家，画山水一禀祖法。明亡后奉亲隐居寒山，耕樵已终，私谥端文先生。有《青毡杂志》、《溉庵诗选》。",[694,24,28,29,60,7,303,33,34,999,175,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf53d0a76905ab872847ffdcb2c95716.jpg",[],{"id":11011,"slug":11012,"title":11013,"dynasty":109,"author":200,"museum":138,"description":11014,"tags":11015,"thumbUrl":11016,"material":588,"size":11017,"collection":86,"collections":11018,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":71},234908,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234908","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,230,28,29,30,31,7,63,1526,34,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e84d54867c8902d4ddec54cc53650e0.jpg","25.7×33厘米",[],{"id":11020,"slug":11021,"title":11013,"dynasty":109,"author":200,"museum":138,"description":11014,"tags":11022,"thumbUrl":11023,"material":588,"size":11017,"collection":86,"collections":11024,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":71},234901,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234901",[24,25,230,28,57,37,38,29,60,61,31,158,33,7,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66df762858172153ef83034707592d9.jpg",[],{"id":11026,"slug":11027,"title":11028,"dynasty":18,"author":4892,"museum":138,"description":11029,"tags":11030,"thumbUrl":11031,"material":177,"size":11032,"collection":86,"collections":11033,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},234809,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-du-shu-tai-tu-ye-wen-jia-234809","吴门诸家寿袁方斋三绝册-读书台图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,25,230,27,29,7,38,58,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ee95c8beaf1ed4ad81a72e865f6789.jpg","22.2*26.7cm",[],{"id":11035,"slug":11036,"title":8860,"dynasty":18,"author":11037,"museum":78,"description":11038,"tags":11039,"thumbUrl":11040,"material":86,"size":86,"collection":86,"collections":11041,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":182},234542,"shan-shui-shan-wei-zhi-huang-234542","魏之璜","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,694,27,36,29,7,33,34,247,60,158,1220,273,5603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14c8d9009f51d706882f0458f6f08902.jpg",[],{"id":11043,"slug":11044,"title":11045,"dynasty":109,"author":1350,"museum":138,"description":11046,"tags":11047,"thumbUrl":11048,"material":177,"size":11049,"collection":86,"collections":11050,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,25,26,27,28,29,36,38,37,7,63,31,33,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":11052,"slug":11053,"title":11054,"dynasty":153,"author":200,"museum":138,"description":11055,"tags":11056,"thumbUrl":11058,"material":588,"size":11059,"collection":86,"collections":11060,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[24,25,5254,27,28,29,1526,157,7,273,2210,11057,57,175,575,8025,36],"水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b0db537c474e6e93fd4294004a01a7.jpg","纵23、横24.5厘米",[],{"id":11062,"slug":11063,"title":6673,"dynasty":109,"author":11064,"museum":78,"description":11065,"tags":11066,"thumbUrl":11067,"material":233,"size":11068,"collection":86,"collections":11069,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":46},232611,"shan-shui-ce-ye-dai-si-wang-232611","戴思望","［清］字怀古，安徽休宁人。善鼓琴，能诗词，工书法。画山水宗法元人，峰峦林壑，精疏淡宕。每扁舟往来两浙、三吴间，遇佳山水辄留峦不忍去。善谐笔，有时旬日不语，人以为痴。构风疾而殁。《国［清］朝画徵录、桐阴论画、倚玉堂诗话、画传编韵、昭代尺牍小传》",[24,27,29,230,7,60,141,38,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675dbe42f36407113547d54da0288d21.jpg","25 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厘米，横55.4 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祖师大满送大智图轴","狩野元信","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,25,215,27,28,29,60,7,30,31,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":11547,"slug":11548,"title":11549,"dynasty":109,"author":11550,"museum":78,"description":11551,"tags":11552,"thumbUrl":11553,"material":86,"size":86,"collection":86,"collections":11554,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":46},230879,"qiu-jiang-wan-du-ye-yao-zhong-bao-230879","秋江晚渡页","姚钟葆","淡墨晕开烟水空蒙，江畔秋树斜出，赭色点染丹黄，将晚秋霜色尽揽枝梢。垂条轻曳，晕出松弛疏淡的野趣。\n\n扁舟泊于浅渚，舟上幽人兀坐，隐入澄澈江天，不着一笔写愁，却将秋江岑寂全然铺陈。留白处尽是悠悠晚意，仿佛可闻欸乃橹声，随晚风漫过江心。\n\n笔墨简淡清灵，以少胜多，把羁旅闲愁化作静穆秋意，文题与淡墨秋景相融，晕开独有的空濛诗意，尽显幽远萧散的林下风致。",[24,27,28,230,36,7,60,63,422,305,481,5721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398701c4b5e7ea6c7f53c677cdf4ea49.jpg",[],{"id":11556,"slug":11557,"title":896,"dynasty":109,"author":8740,"museum":78,"description":11558,"tags":11559,"thumbUrl":11560,"material":86,"size":86,"collection":86,"collections":11561,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":46},230255,"shan-shui-ce-wang-su-230255","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[24,25,230,27,28,7,1526,996,504,31,63,539,1690,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":11563,"slug":11564,"title":5298,"dynasty":18,"author":4524,"museum":78,"description":11565,"tags":11566,"thumbUrl":11567,"material":86,"size":86,"collection":86,"collections":11568,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":46},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,55,24,25,26,38,37,27,28,29,7,33,31,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":11570,"slug":11571,"title":11572,"dynasty":18,"author":9317,"museum":78,"description":11573,"tags":11574,"thumbUrl":11575,"material":86,"size":86,"collection":86,"collections":11576,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":71},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","隐宝界山图轴","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[23,24,215,29,27,36,61,7,31,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":11578,"slug":11579,"title":11580,"dynasty":153,"author":200,"museum":78,"description":11581,"tags":11582,"thumbUrl":11583,"material":86,"size":86,"collection":86,"collections":11584,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":71},227923,"lian-tang-fan-ting-tu-yi-ming-227923","莲塘泛艇图","此作用水墨晕染铺就塘间幽趣，古木虬曲苍劲，浓墨点叶半掩水榭，凭栏二人对坐低语，檐下暗影浮动浸着凉意。扁舟缓行于烟水间，舱中三人敛衣静坐，淡墨晕开的烟霭晕化虚实界限，树影与水色融作一片朦胧，将暑夜荷塘的清宁雅致尽数铺展。\n\n全画以墨色浓淡区分层次，于尺幅团扇间营造出悠远空阔的幽居之境，尽显闲逸雅致的林下风流，寥寥笔墨便勾勒出淡远空灵的氛围感，将幽寂闲趣藏进晕染的烟水间，诗意漫溢其间。",[23,10287,55,24,25,694,28,57,29,60,7,3999,3853,32,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3772f4c64aa6c5f5f71e8800df047da4.jpg",[],{"id":11586,"slug":11587,"title":6265,"dynasty":153,"author":200,"museum":96,"description":11588,"tags":11589,"thumbUrl":11590,"material":588,"size":11591,"collection":86,"collections":11592,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":46},223505,"song-hu-diao-yin-tu-yi-ming-223505","叶小舟浮于湖上，一人独坐垂 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篙摇橹，人物情态悠然自适。\n\n画作以诗配景，将乘江览胜的雅思具象化，笔意简淡清旷，把文人心底的隐逸闲情寄寓在山水行旅之间，诗画交融，尽显传统文人画的清雅格调，将题咏里的山水雅游意趣尽显纸上。",[24,25,230,27,82,36,37,58,29,7,60,31,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34364f3565e710fda0b1cedb1674b796.jpg",[],{"id":11815,"slug":11816,"title":10967,"dynasty":109,"author":5449,"museum":78,"description":11817,"tags":11818,"thumbUrl":11819,"material":86,"size":86,"collection":86,"collections":11820,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},238727,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238727","此作用平远之法铺陈景致，淡墨晕开烟水，远山以枯笔轻皴，苍润相融，尽现江天色空濛之态。左岸柳色如烟，掩映深宅，右岸苍松怪石环伺茅庐，士人凭窗静坐，似在追和诗意。\n\n笔墨清简秀雅，以画释意，将幽居寄怀的文人情思藏进一水一木之间，诗画相生，恬然静穆的林下雅趣扑面而来，尽显传统文人画诗画合璧的隽永意境。",[24,27,36,230,29,32,7,33,35,60,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ba1e2918521410f628e893afd81d73.jpg",[],{"id":11822,"slug":11823,"title":11824,"dynasty":109,"author":5638,"museum":78,"description":4817,"tags":11825,"thumbUrl":11826,"material":359,"size":360,"collection":86,"collections":11827,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":71},238406,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238406","董诰荟景含晖图小册",[24,25,230,28,29,32,7,33,34,516,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd92167147c053dff144280efc7141fd.jpg",[],{"id":11829,"slug":11830,"title":896,"dynasty":109,"author":6119,"museum":78,"description":11831,"tags":11832,"thumbUrl":11833,"material":86,"size":86,"collection":86,"collections":11834,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},238151,"shan-shui-ce-yun-xi-238151","此作画境淡远清和，烟峦笼于薄雾，似隐似现晕开悠远底色。危崖夹溪对峙，古松虬枝盘曲，掩映半山朱楼，浅绛敷色晕染山石，苍秀笔墨勾勒出岩崖肌理，温润雅致间带着沉凝质感。\n\n溪面波痕轻泛，扁舟随水漾开，渔翁垂纶闲坐，童子静立身侧，寥寥数笔点出世外幽居的散淡闲情。章法开合有度，将林泉丘壑与林下襟怀相融，笔墨简净而意趣悠长，静穆萧散中尽显文人山水的雅逸襟致。",[24,28,36,230,29,61,7,216,31,34,33,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1797c7f3006e9261bb9a7c8f0b1dcb89.jpg",[],{"id":11836,"slug":11837,"title":11838,"dynasty":153,"author":200,"museum":78,"description":11839,"tags":11840,"thumbUrl":11842,"material":86,"size":86,"collection":86,"collections":11843,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":71},238129,"liang-shi-min-lu-ting-mi-xue-tu-juan-yi-ming-238129","梁师闵芦汀密雪图卷","以淡墨晕染铺就江天雪景，汀渚芦荻披雪偃卧，寒禽静栖其间，留白拓出江天寥廓空茫。笔意简淡清润，没有繁复皴擦，仅凭水墨晕染便勾勒出雪色裹覆下的冷寂江洲。\n清冷萧寒的氛围漫溢纸面，尽显潇湘冬雪的空濛澄澈，带着宋画独有的雅致静穆。观者仿若踏雪临江，看江天雪意萧索，望外寒沙半落潮，在这份冷逸幽澹的意境里，沉醉于冬日江渚的荒寂之美。",[55,24,25,26,57,27,28,29,996,11841,370,7,63,58,37,38],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016ed5eb355835f8e2c13be7da3c1a67.jpg",[],{"id":11845,"slug":11846,"title":8860,"dynasty":18,"author":6142,"museum":78,"description":6964,"tags":11847,"thumbUrl":11848,"material":359,"size":360,"collection":86,"collections":11849,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237797,"shan-shui-shan-song-xu-237797",[694,24,25,27,36,29,33,34,246,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3a6c04c455368f424f3d5a4dc2cf09.jpg",[],{"id":11851,"slug":11852,"title":11853,"dynasty":109,"author":11854,"museum":78,"description":11855,"tags":11856,"thumbUrl":11857,"material":359,"size":360,"collection":86,"collections":11858,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237730,"wu-sheng-shi-yi-tu-ce-huang-yi-237730","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,230,27,29,7,84,303,661,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb247c602951eb9730962ead73d735631.jpg",[],{"id":11860,"slug":11861,"title":2440,"dynasty":109,"author":1350,"museum":78,"description":5808,"tags":11862,"thumbUrl":11863,"material":359,"size":360,"collection":86,"collections":11864,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237597,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237597",[24,25,230,27,36,81,29,357,272,7,34,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4a62d1ab06a5a048c42ea3c4b4b4ac.jpg",[],{"id":11866,"slug":11867,"title":896,"dynasty":109,"author":11155,"museum":138,"description":11384,"tags":11868,"thumbUrl":11869,"material":86,"size":86,"collection":86,"collections":11870,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237557,"shan-shui-ce-wen-dian-237557",[24,55,27,29,230,7,63,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8b702a477bc829b380f2e5d4a5fec3.jpg",[],{"id":11872,"slug":11873,"title":11874,"dynasty":109,"author":1350,"museum":96,"description":11875,"tags":11876,"thumbUrl":11877,"material":233,"size":86,"collection":86,"collections":11878,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237382,"shan-shui-ce-xu-wen-yang-jin-liu-pu-gu-zhou-tu-ye-wang-hui-237382","山水册-徐玟、杨晋柳浦孤舟图页","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。",[24,25,230,27,36,29,7,174,63,574,60,1526,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334f889706a97c80364d0d28a177adbb.jpg",[],{"id":11880,"slug":11881,"title":11882,"dynasty":109,"author":11401,"museum":78,"description":11402,"tags":11883,"thumbUrl":11884,"material":86,"size":86,"collection":86,"collections":11885,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237131,"shan-shui-ren-wu-ce-3-shang-guan-zhou-237131","山水人物册3",[24,230,28,29,60,306,422,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d083144eb5e42be92cdc1dbc6d02dce.jpg",[],{"id":11887,"slug":11888,"title":11889,"dynasty":109,"author":11401,"museum":78,"description":11402,"tags":11890,"thumbUrl":11891,"material":86,"size":86,"collection":86,"collections":11892,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237130,"shan-shui-ren-wu-ce-2-shang-guan-zhou-237130","山水人物册2",[24,27,36,230,29,60,7,33,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a090cfeb7b9674d745b12b8e11f29f9.jpg",[],{"id":11894,"slug":11895,"title":8860,"dynasty":18,"author":766,"museum":78,"description":3178,"tags":11896,"thumbUrl":11897,"material":359,"size":360,"collection":86,"collections":11898,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237120,"shan-shui-shan-zhang-hong-237120",[24,25,694,27,29,7,33,61,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa93874b9114a9586454b23fcc7bb54.jpg",[],{"id":11900,"slug":11901,"title":896,"dynasty":109,"author":2054,"museum":78,"description":11902,"tags":11903,"thumbUrl":11904,"material":86,"size":86,"collection":86,"collections":11905,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237106,"shan-shui-ce-cha-shi-biao-237106","查士标（1615年—1698年），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，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,25,230,27,29,33,30,31,7,141,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c3c7b9db23d012365667c2d45e9f9.jpg",[],{"id":11907,"slug":11908,"title":11909,"dynasty":109,"author":200,"museum":78,"description":11910,"tags":11911,"thumbUrl":11912,"material":359,"size":360,"collection":86,"collections":11913,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237080,"qin-shi-dong-ting-qiu-yue-shan-ye-yi-ming-237080","钦式洞庭秋月扇页","这幅扇面以淡墨晕染铺就水天色，左侧江岸立起层叠楼阁，港湾内舟楫系泊，近岸草木萧疏晕染出秋意。湖面开阔空寂，远帆缓行于烟波之间，将秋水辽远铺陈开来。\n\n工细勾勒的楼阁与淡扫晕染的水天相映，虚实相生间晕化出洞庭秋月的清寂空灵。笔墨古朴淡雅，以简淡的皴染写江岸坡石，点染间尽显秋夜的静谧悠远，将洞庭月夜的清旷诗意融于咫尺扇面之中，暗含文人寄情烟水的幽远意趣，尽显传统山水小品的雅致韵致。",[24,694,27,28,29,61,30,31,7,303,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1b36e7c1be3d1165aa0f167217805.jpg",[],{"id":11915,"slug":11916,"title":896,"dynasty":18,"author":11409,"museum":78,"description":11410,"tags":11917,"thumbUrl":11918,"material":233,"size":86,"collection":86,"collections":11919,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},237034,"shan-shui-ce-zhang-yan-237034",[24,27,36,230,29,34,33,30,31,61,7,58],"https:\u002F\u002Foss.chuangqi.store\u002F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于林樾之间。远景江波浩渺，片帆数点悠悠往来，留白铺就云水空濛之境，尽显悠远淡宕的诗意。\n\n书法页笔致隽秀舒朗，诗文与画境呼应，书画相生，融笔墨意趣与林泉雅韵为一体，淡逸萧散，将幽寂清和的山居江景，化作可赏可吟的世外丘壑，尽显文人山水的简远之美。",[24,25,230,27,36,29,61,33,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b83ff495a225ca7271b25ac8426346e.jpg",[],{"id":12050,"slug":12051,"title":12052,"dynasty":18,"author":200,"museum":78,"description":12053,"tags":12054,"thumbUrl":12055,"material":359,"size":360,"collection":86,"collections":12056,"showCount":335,"zanCount":592,"manualWeight":11,"mainColor":46},234969,"qian-gu-shan-shui-shan-ye-yi-ming-234969","钱穀山水扇页","此作用平远章法铺展湖山小景，三段洲渚错落排布，留白勾画出空阔水色，尽显湖天寥廓。枯木虬曲苍劲，以简括折芦笔意写出古拙之态，远林以点染之法轻施笔墨，淡赭晕染秋山，花青敷色浅岸，轻烟隐于远峦间，浅绛设色清透雅致。村居藏在林间坡岸，野意闲静，将江南秋日萧疏淡远的隐逸之趣收于咫尺扇面。题钤朱印点缀边角，文气悠然，笔墨疏淡却意蕴悠长，尽显文人山水寄情丘壑的雅逸品格。",[24,25,694,29,27,28,36,84,34,31,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298d611f28db0ebf31aeb5ae6874a5be.jpg",[],{"id":12058,"slug":12059,"title":896,"dynasty":18,"author":3291,"museum":78,"description":12060,"tags":12061,"thumbUrl":12062,"material":86,"size":86,"collection":86,"collections":12063,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},234665,"shan-shui-ce-shao-mi-234665","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[55,24,25,230,27,36,29,141,84,31,7,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1a6a24b24c48b15067832ea331eb98.jpg",[],{"id":12065,"slug":12066,"title":896,"dynasty":109,"author":2054,"museum":78,"description":11514,"tags":12067,"thumbUrl":12068,"material":86,"size":86,"collection":86,"collections":12069,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},234639,"shan-shui-ce-cha-shi-biao-234639",[24,25,230,27,28,29,174,7,63,31,141,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b4e5b7d54682fbdb90b8120d8bd186f.jpg",[],{"id":12071,"slug":12072,"title":12073,"dynasty":109,"author":12074,"museum":138,"description":12075,"tags":12076,"thumbUrl":12077,"material":116,"size":12078,"collection":86,"collections":12079,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},234473,"he-ting-fan-ting-shan-wu-da-cheng-234473","荷汀泛艇扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n题跋：旧藏宋人集册，有此一帧，不署画款，爱其疏散有致，约略拟此。黼卿大兄大人雅鉴。吴大澂。\u2028 画中的文人坐于船上泛舟荷汀欣赏夏季美景，船上放着一函书，渔夫轻快地划着船，好一个闲适的生活！",[24,25,694,28,27,29,3999,7,60,422,996,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e31b3a65d44a24549835378870184a1.jpg","19.5cmx53.7cm",[],{"id":12081,"slug":12082,"title":896,"dynasty":109,"author":1007,"museum":138,"description":12083,"tags":12084,"thumbUrl":12086,"material":1284,"size":12087,"collection":86,"collections":12088,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},233971,"shan-shui-ce-gong-xian-233971","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,25,27,29,230,36,7,329,12085,516],"平滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20adfe13e849b614862c61cfe28f9512.jpg","纵22.2厘米，横33.2厘米",[],{"id":12090,"slug":12091,"title":2555,"dynasty":109,"author":2556,"museum":138,"description":2557,"tags":12092,"thumbUrl":12093,"material":177,"size":2561,"collection":86,"collections":12094,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},233446,"ren-wu-shan-shui-ce-luo-pin-233446",[24,28,230,29,60,30,31,7,59,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c10130c1a52d65085d434faa412416.jpg",[],{"id":12096,"slug":12097,"title":12098,"dynasty":2508,"author":12099,"museum":78,"description":12100,"tags":12101,"thumbUrl":12102,"material":86,"size":86,"collection":86,"collections":12103,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},231581,"jiang-hu-shi-dai-xiao-xiang-ba-jing-tu-juan-shou-ye-chang-xin-231581","江户时代萧湘八景图卷","狩野常信","此作用淡墨轻晕出空濛烟岚，山峦在水雾里迤逦起伏，或显或隐，晕染出悠远的纵深。江面烟波浩渺，归雁列队掠过长空，江渚间村居错落、渔舟泛波，林舍与茂树点缀水岸，将水乡闲逸日常藏进山水间。\n画家以极简笔墨勾勒物象，淡彩点染草木，把潇湘山水的清寂灵秀揉进温润雅致的笔墨意趣里，整体意境澹泊空灵，将烟波水乡的幽远禅意晕散开来，仿佛能闻见水畔林风，窥见渔樵往来的悠然日常，尽显山水间的澹然诗意。",[23,24,26,27,28,29,36,32,7,63,61,31,34,33,303,175,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf1073186518574b343a552415ea54d.jpg",[],{"id":12105,"slug":12106,"title":12107,"dynasty":109,"author":7503,"museum":78,"description":12108,"tags":12109,"thumbUrl":12110,"material":233,"size":12111,"collection":86,"collections":12112,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[23,24,25,26,28,27,57,38,37,58,29,60,7,996,231,5471,273,8569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 本幅：34×105.5cm 题跋：31×33cm×13",[],{"id":12114,"slug":12115,"title":2750,"dynasty":18,"author":200,"museum":78,"description":12116,"tags":12117,"thumbUrl":12118,"material":86,"size":86,"collection":86,"collections":12119,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":182},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[23,24,27,29,215,36,357,7,32,31,34,273,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":12121,"slug":12122,"title":12123,"dynasty":2508,"author":12124,"museum":78,"description":12125,"tags":12126,"thumbUrl":12131,"material":359,"size":360,"collection":86,"collections":12132,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,25,26,28,57,82,81,58,8943,60,7,63,10498,5714,32,61,31,694,12127,12128,12129,816,550,34,30,83,2495,1241,7098,33,12130,38,203],"孔雀","雉鸡","燕子","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":12134,"slug":12135,"title":12136,"dynasty":18,"author":200,"museum":78,"description":12137,"tags":12138,"thumbUrl":12139,"material":86,"size":86,"collection":86,"collections":12140,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":71},228788,"han-jiang-yu-jia-tu-yi-ming-228788","寒江渔家图","此作用淡墨晕染出萧寒冬日的江野之景。前景老树虬曲苍劲，枯槎间缀着残雪与点点红萼，荒寒里透出一缕生机。寒江之上，孤舟泛波，舟头渔者瑟缩，暗合冬日生计的清苦。远山覆雪，以淡笔轻勾，衬出江天空蒙冷寂。全画笔法简淡空灵，将江乡冬日的荒寒静穆悉数铺展，把渔家漂泊的清寂与山水的悠远相融，于萧索冷冽的意境里，藏着水墨山水独有的空雅致趣，尽显冬日江野的澹泊清寂之美。",[23,24,28,29,7,174,34,792,175,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af03191cefa620a2ca42015524e4fb9.jpg",[],{"id":12142,"slug":12143,"title":12144,"dynasty":18,"author":326,"museum":78,"description":2712,"tags":12145,"thumbUrl":12150,"material":359,"size":360,"collection":86,"collections":12151,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},228474,"sui-bi-01-tang-yin-228474","随笔01",[55,24,25,230,38,58,37,27,2348,2132,12146,12147,31,12148,481,63,7535,273,12149,2650,7],"林屋","春云","竹篱","霜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf19c957fdf26ac11f1c1b360d532ce7.jpg",[],{"id":12153,"slug":12154,"title":12155,"dynasty":153,"author":200,"museum":78,"description":12156,"tags":12157,"thumbUrl":12158,"material":86,"size":86,"collection":86,"collections":12159,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},227895,"cheng-jiang-bi-xiu-tu-yi-ming-227895","澄江碧岫图","此作为宋代青绿山水小品，取半边构图，左畔山石以石青石绿晕染，苍润古雅，坡岸松荫蔚然，隐见茅舍山居，野意悠然。右侧铺陈空阔澄江，几叶扁舟随波缓行，远山以淡墨轻扫晕染，在赭色绢底烘托下，将尺幅小景延展为辽远空濛的水天之境。\n\n全画色调沉静古拙，雅致内敛，把江南平远山水的清寂空阔，与山居的安闲悠然相融。咫尺尺幅间尽显宋人观照山水的澹泊意趣，见微知著，藏着江南烟水的沉静诗意，尽显院体小品的清丽雅致。",[23,55,24,25,694,28,29,7,422,1567,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebd0603c9adc30af9685e06d3a0274a.jpg",[],{"id":12161,"slug":12162,"title":7212,"dynasty":153,"author":200,"museum":78,"description":12163,"tags":12164,"thumbUrl":12167,"material":86,"size":86,"collection":86,"collections":12168,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","宋 佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,55,24,25,128,27,28,245,36,58,306,516,33,7,12165,995,3914,158,2840,12166],"停泊","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":12170,"slug":12171,"title":12172,"dynasty":2508,"author":200,"museum":78,"description":12173,"tags":12174,"thumbUrl":12176,"material":86,"size":86,"collection":86,"collections":12177,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},225329,"fu-shi-hui-80-yi-ming-225329","浮世绘80","初雪轻覆隅田湾，澄澈蓝波托着覆雪渔舟，舱顶积雪似凝霜，静泊水面晕开冬日清寂。汀渚林木素白裹着苍绿，柔化了凛冬寒意。远处滩涂农夫负薪徐行，把烟火暖意揉进淡远暮色里。\n\n画作以平远构图铺展近郊冬景，雅致设色晕染出清冷疏朗氛围，将幽寂冬色与俗世温情相融，把寻常冬日常景，绘成诗意栖居的画卷，尽显风景绘的侘寂美学，定格下日常风物里的清宁温柔。",[7611,7612,28,29,7,216,303,32,31,422,370,12175,175],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d053a755b841d51128d3cdce096bf3c.jpg",[],{"id":12179,"slug":12180,"title":12181,"dynasty":2508,"author":200,"museum":78,"description":12182,"tags":12183,"thumbUrl":12185,"material":359,"size":360,"collection":86,"collections":12186,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":840},225315,"fu-shi-hui-52-yi-ming-225315","浮世绘52","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[7611,229,28,60,61,30,31,7,83,12184,2868],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f70554bdf46d54672590acfbd6859e.jpg",[],{"id":12188,"slug":12189,"title":12190,"dynasty":153,"author":200,"museum":78,"description":12191,"tags":12192,"thumbUrl":12193,"material":86,"size":86,"collection":86,"collections":12194,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":71},223646,"xi-yan-mu-se-tu-ye-yi-ming-223646","西岩暮色图页","此作用墨沉润苍郁，以边角取景铺展暮色空山。近岸孤舟横斜，系着晚归的余绪，坡岸林木蓊翳，松枝偃仰间带着黄昏倦意。崖壁山石以硬朗皴法写就，隐没在渐深的暮色烟霭中，虚实相生间将山野黄昏的幽寂缓缓铺陈。\n\n墨色随着暮色层次晕染，浓淡过渡里晕化出薄暮氤氲的朦胧，不见白日明丽，只留萧疏静谧的山野况味，将暮色西岩时分天地归于岑寂的氛围感藏在水墨晕染间，观之如身临空山向晚，揽尽黄昏里山野沉静的余韵。",[23,55,24,25,230,27,36,29,422,158,7,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5bd45ee326f56e10fc3030c6df6c33.jpg",[],{"id":12196,"slug":12197,"title":12198,"dynasty":153,"author":200,"museum":78,"description":12199,"tags":12200,"thumbUrl":12201,"material":1178,"size":12202,"collection":86,"collections":12203,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},223533,"jiang-cheng-tu-yi-ming-223533","江城图","图为一幢高大的建筑耸立在河边，梁檐厚重，气势磅礴。 三、两个人正从大楼的上层向外望去； 河岸，河水波涛汹涌，浪涛拍岸，船径顺岸。 , 河边的人已经到了毛伊岛岸边； 一角郁郁葱葱，整个景色自然壮丽",[23,24,25,229,38,28,29,61,7,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F454f0b5a96ee127cc95df9fe0c1b0e1d.jpg","38x69cm",[],{"id":12205,"slug":12206,"title":12207,"dynasty":109,"author":1007,"museum":20,"description":8688,"tags":12208,"thumbUrl":12209,"material":1861,"size":8691,"collection":86,"collections":12210,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},222617,"shan-shui-ba-jing-7-gong-xian-222617","山水八景-7",[23,24,27,36,29,7,216,30,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa752e449fa9c8910dd0ea8b775ce48cd.jpg",[],{"id":12212,"slug":12213,"title":12214,"dynasty":94,"author":200,"museum":12215,"description":12216,"tags":12217,"thumbUrl":12222,"material":100,"size":86,"collection":86,"collections":12223,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":840},218202,"shan-shui-tu-er-yi-ming-218202","山水图(二)","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[55,24,25,215,28,36,29,34,33,7,31,273,2210,12218,7174,600,3867,1581,12219,12220,10730,6010,12221],"苍劲枝干","自然景致","传统山水画","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe726c81cec33fed8eceda24249fa80ff.jpg",[],{"id":12225,"slug":12226,"title":7789,"dynasty":109,"author":8365,"museum":20,"description":12227,"tags":12228,"thumbUrl":12230,"material":86,"size":86,"collection":262,"collections":12231,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":12232},203460,"shan-shui-ren-wu-ce-jin-nong-203460","此作笔墨简淡却意蕴悠长。左帧垂柳如丝，拂过岸畔孤舟，淡墨晕染的水面似含烟霭，清寂中藏着对故人的遥想；右帧松枝盘曲，红栏边雅士对谈、童子侧立，线条稚拙生趣，设色淡雅脱俗。整幅以文人视角入画，笔意古朴，意境空灵，题字与印章相映，尽显超然物外的逸致。",[23,24,25,230,27,28,82,29,1526,7,357,60,12229,273],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb90f9cdbfa9039c5ef469725e78b78.jpg",[262],"e9dfd9",{"id":12234,"slug":12235,"title":12236,"dynasty":5531,"author":10051,"museum":20,"description":12237,"tags":12238,"thumbUrl":12239,"material":86,"size":86,"collection":42,"collections":12240,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":12241},203310,"liu-xia-wo-zhou-tu-zhou-fu-bao-shi-203310","柳下卧舟图轴","柳枝以泼墨写意铺陈，虬干墨色沉厚，枝条如丝绦垂落，浓淡交错间晕染出空濛暮色。孤舟静泊柳荫下，舟中人物凭舷而坐，衣袂轻扬似携晚风。背景淡墨层层渲染，虚实相生间藏江南水乡温润气韵。笔墨洒脱不羁，线条灵动如飞，以独特散锋皴法融自然之景与文人意趣，尽显水墨写意的灵动深邃，让人于朦胧间感怀那份超然闲适。",[24,27,60,7,84,36,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dc2730f44d2547ded942bc9d96526b.jpg",[42],"908d81",{"id":12243,"slug":12244,"title":12245,"dynasty":5531,"author":10051,"museum":20,"description":12246,"tags":12247,"thumbUrl":12248,"material":86,"size":86,"collection":86,"collections":12249,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":12250},203198,"xie-yi-shan-shui-tu-zhou-fu-bao-shi-203198","写意山水图轴","笔墨淋漓间，山峦如泼墨般晕染开来，云雾缭绕处虚实相生，尽显天地苍茫之态。散锋皴法洒脱不羁，墨色浓淡交错，勾勒出山川的雄浑肌理与灵秀气韵。江面几叶孤舟隐现，似在烟波中浮沉，添了几分清寂悠远的意趣，仿佛能闻见江风掠过耳畔。整幅画作气韵生动，将自然的壮阔与文人的雅致融于一纸，尽显写意山水的妙境。",[24,27,29,7,36,114,215,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed263f710f7746df9cfb4a372cbba0e.jpg",[],"c6b396",{"id":12252,"slug":12253,"title":596,"dynasty":109,"author":10762,"museum":20,"description":12254,"tags":12255,"thumbUrl":12256,"material":86,"size":86,"collection":42,"collections":12257,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":12258},203186,"shan-shui-tu-ce-fan-qi-203186","此山水册页笔墨清润雅致，皴染结合尽显山石肌理。或见孤舟泛于远岫间，水色空濛；或有青绿晕染的丘壑旁，村舍隐现，溪流蜿蜒；又或峡谷中林木点缀，流水潺潺。设色淡雅，青绿与水墨交融，构图疏密有致，意境清幽悠远，文人画的闲适韵味流淌其间，给人以宁静脱俗的视觉享受。",[24,29,230,36,28,7,31,56,27,34,1220,950,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe30ebe6408594a9cf653469c79f14f43.jpg",[42],"bcad96",{"id":12260,"slug":12261,"title":596,"dynasty":109,"author":1302,"museum":20,"description":12262,"tags":12263,"thumbUrl":12264,"material":86,"size":86,"collection":42,"collections":12265,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":6083},203176,"shan-shui-tu-ce-kun-can-203176","笔墨苍劲浑厚，皴擦点染间铺展山水丘壑。山石以干笔皴法勾勒，纹理朴拙厚重；草木葱茏处墨色浓淡交错，层次分明。左帧岩崖间茅亭藏于松荫，石阶蜿蜒；中帧江波浩渺，孤舟一叶泛于水面，意境空远；右帧林木掩映屋舍，小径通幽。画面与题跋、朱印相映成趣，文心与画境交融，尽显清寂悠远的禅意，是清初山水沉郁深秀之典范。",[24,29,230,27,36,7,32,1220,58,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72bb5f3751bf1662a6faaa76d97588d2.jpg",[42],{"id":12267,"slug":12268,"title":12269,"dynasty":5531,"author":1803,"museum":20,"description":12270,"tags":12271,"thumbUrl":12272,"material":86,"size":86,"collection":42,"collections":12273,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":12274},202953,"jiang-han-qiu-ying-tu-zhou-huang-bin-hong-202953","江涵秋影图轴","秋江如镜，远岫轻笼薄雾，数点飞鸟掠过长空，漾开秋意清寂。近岸草木扶疏，山石以浓墨皴擦，笔触苍劲，墨色层次丰富，干湿互济间见生机。江心孤舟静浮，与远山、飞鸟相映成趣，暗合秋江涵影的诗意。画面以写意笔法勾勒，融传统山水意境与个人感悟，淡远中含沉厚，清疏里藏韵致，尽显文人画的雅致深邃，笔墨间流淌着对自然的诗意观照。",[24,29,27,36,7,63,34,2348,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256abd953bc2bfbe6f77c3a5cb960845.jpg",[42],"c5bdae",{"id":12276,"slug":12277,"title":11164,"dynasty":5531,"author":1803,"museum":20,"description":12278,"tags":12279,"thumbUrl":12280,"material":86,"size":86,"collection":4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地，举头缈缈似瑶宫。”",[23,24,55,25,215,27,29,36,61,30,31,7,32,34,357,2736,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":12405,"slug":12406,"title":12407,"dynasty":153,"author":200,"museum":78,"description":12408,"tags":12409,"thumbUrl":12411,"material":359,"size":360,"collection":86,"collections":12412,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":71},289786,"song-yan-xian-guan-tu-yi-ming-289786","松严仙馆图","采用全景式山水章法，将高远、平远景致相融。危崖之巅，楼阁隐于青松翠岫间，尽显出尘高逸。水畔台榭依崖而建，烟波浩渺间远山如黛，留白处晕染出空濛悠远的诗意。前景古木虬曲苍劲，坡岸山石皴擦细腻苍润，笔致严谨雅致，绢本晕染的古雅色调沉静悠然。\n整幅画铺展出林泉幽居之景，将仙馆清寂融于烟岚山水之中，尽显可观可游可居的山水意趣，暗合林泉高致的风雅，氤氲出静谧悠远的隐逸之美。",[23,24,29,229,28,36,61,357,34,31,273,7,12410],"亭馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c8cfd725c56d9836e02506697d5c1d.jpg",[],{"id":12414,"slug":12415,"title":12416,"dynasty":2508,"author":12417,"museum":78,"description":12418,"tags":12419,"thumbUrl":12420,"material":359,"size":360,"collection":86,"collections":12421,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},289367,"tu-dao-chao-tun-tu-qing-mu-mu-mi-289367","兔道朝暾图","青木木米","此作用笔兼具中日山水意趣，取景开合相生。远山以淡墨晕染出空濛烟岚，峰峦轮廓温润朴拙，暗合米家山水氤氲之态。近岸桃红柳翠，板桥通幽，山居藏于虬枝茂叶间，清溪蜿蜒穿谷，渔舟泛波划破春水静澜。\n\n右侧崖壁题笔古雅，笔墨干湿浓淡交叠，苍松怪石兼具苍劲秀逸之姿。将春日溪山的清寂生机揉为一处，渔樵幽隐之趣暗含其间，把文人寄兴林泉的澹然幽怀，晕染进烟柳春山之中，静穆又暗藏灵动意韵。",[23,24,245,28,27,36,29,30,31,7,32,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b4914d50ec75112b683d1d423ddc33.jpg",[],{"id":12423,"slug":12424,"title":12425,"dynasty":109,"author":200,"museum":78,"description":12426,"tags":12427,"thumbUrl":12429,"material":359,"size":360,"collection":86,"collections":12430,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":71},288186,"xia-ri-na-liang-tu-juan-ben-yi-ming-288186","夏日纳凉图绢本","这幅小品以青绿设色写就，晕染出幽然消暑意趣。水岸垂柳柔条拂波，汀岸浅绿晕开暑夏水汽，将溽热轻轻揉碎在烟水间。山畔高阁凭渊藏于林麓，不见纳凉之人，却自有一种幽闲空寂的松弛意韵。\n\n远山以石青石绿勾染，淡赭铺底衬出峰峦温润古雅，奇峰错落淡溶于朦胧暮色里，将天地晕染出沉静古拙的氛围感。水面空阔留白，扁舟缓行，似载着闲客趁晚风消暑。\n\n全图以景托情，把文人寄情山水、寻幽纳凉的隐逸雅趣藏在湖山烟柳间，带着唐宋青绿小品的遗韵，清寂雅致，尽显消暑闲情。",[23,24,245,56,28,61,7,31,217,1052,142,12428,3854,3311],"夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39017a063b82ab63adc2028fc6edc752.jpg",[],{"id":12432,"slug":12433,"title":1026,"dynasty":18,"author":3388,"museum":78,"description":10686,"tags":12434,"thumbUrl":12435,"material":359,"size":360,"collection":86,"collections":12436,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":71},288068,"yu-le-tu-zhou-chen-288068",[23,24,26,27,28,60,29,7,31,175,3814,37,1272,357,6958,3872,3311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":12438,"slug":12439,"title":12440,"dynasty":109,"author":200,"museum":78,"description":12441,"tags":12442,"thumbUrl":12446,"material":359,"size":360,"collection":86,"collections":12447,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":71},273559,"hei-qi-miao-jin-shan-shui-wen-ding-gui-yi-ming-273559","黑漆描金山水纹顶柜","以乌漆为底，如沉夜天幕，描金绘就江南山居图景。峰峦迤逦叠翠，屋舍错落临渊而建，渔舟轻泛烟波，林树扶疏映带左右，将林泉隐逸之趣凝缩于柜体之上。边角枝蔓点缀，晕开雅致余韵，柜脚随形勾勒水色山光，上下景致呼应，浑然一体。描金走线细腻流畅，金辉于乌漆映衬下愈显雍容，将文人心间山水搬进日常起居，收纳器物之外更藏诗意，尽显沉静雅致的东方韵致。",[12443,12444,29,61,31,7,33,12445],"漆器","描金","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b50249d908b203195c0be30e6900d2.jpg",[],{"id":12449,"slug":12450,"title":12451,"dynasty":109,"author":200,"museum":78,"description":12452,"tags":12453,"thumbUrl":12456,"material":359,"size":360,"collection":86,"collections":12457,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":840},272879,"zi-tan-mu-bian-qian-yu-shan-shui-tu-gua-ping-yi-ming-272879","紫檀木边嵌玉山水图挂屏","此挂屏以黑漆为底，取各色玉料巧作镶嵌，晕染出一方江南园林胜景。远景山峦叠翠，亭台隐于林麓，题字墨韵点衬风雅；近岸柳丝垂波，临水轩榭明丽雅致，舟船泛于湖面，桥上雅士晤谈晏晏，意态悠然。\n\n匠者借玉石天然色泽区分景致层次，深浅玉色晕开远近空间，将江南烟霭温润之美凝于屏中。紫檀边框沉稳内敛，把文人山水意趣与百宝嵌工艺相融，静赏间如身临水墨江南，尽显清代工造的精巧匠心与雅致审美。",[10488,12454,9139,12455,29,61,30,31,60,32,33,37,7],"玉石","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78abdb89b00f3b0e9ae27403638350f2.jpg",[],{"id":12459,"slug":12460,"title":12461,"dynasty":109,"author":200,"museum":78,"description":9135,"tags":12462,"thumbUrl":12463,"material":359,"size":360,"collection":86,"collections":12464,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":71},257906,"qing-hua-han-jiang-du-diao-tu-bi-yan-hu-yi-ming-257906","青花寒江独钓图鼻烟壶",[9138,4213,9137,29,7,175,30,31,216,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff833b10396ab6031d530ca386313864e.jpg",[],{"id":12466,"slug":12467,"title":12468,"dynasty":109,"author":12469,"museum":78,"description":12470,"tags":12471,"thumbUrl":12473,"material":359,"size":360,"collection":86,"collections":12474,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},241172,"wo-suo-si-ci-zhou-qian-feng-241172","我所思词轴","钱沣","字东注，一字约甫，号南园，云南昆明人，清代大臣、书画家。\n乾隆三十六年（1771年）进士，授检讨，官至御史。曾疏言和珅为军机，办事不遵制度，因授稽察军机处之任。和珅知其家贫裘薄，凡劳苦事多委之，积劳成疾死。书法逼近平原，尝兴酣画马识者珍之。有《南园集》。",[215,37,38,58,63,7,12472,481],"江隈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0386b935d241412373e7e129edbf55b5.jpg",[],{"id":12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[清]（一八二三至一八八六）字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[24,25,694,27,36,29,7,32,174,273,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8ab5db6f08dd980005bc8a8408e514.jpg",[],{"id":12676,"slug":12677,"title":12678,"dynasty":109,"author":12679,"museum":78,"description":12680,"tags":12681,"thumbUrl":12682,"material":86,"size":86,"collection":86,"collections":12683,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},234363,"you-niao-shi-tu-ce-jin-kun-234363","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[24,25,230,27,28,29,63,7,303,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9033be58bb019b68f21ba42f6c1c8de5.jpg",[],{"id":12685,"slug":12686,"title":12687,"dynasty":109,"author":11328,"museum":78,"description":12688,"tags":12689,"thumbUrl":12690,"material":86,"size":86,"collection":86,"collections":12691,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},234210,"xiang-jiang-chang-he-tu-juan-wang-chen-234210","湘江唱和图卷","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。王时敏六世孙，王原祁曾孙。官衔有的说是乾隆二十五年举人，官永州太守，但也有一说是乾隆年进士，官居永州知府。\n书法似颜真卿，多藏古碑刻。山水承家学，以元四家为宗，而深得黄公望法。枯毫重墨，气味荒古，脱略形似，仿王绂尤得神髓 。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[23,24,25,26,27,36,38,37,29,7,33,3867,31,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],{"id":12693,"slug":12694,"title":12695,"dynasty":18,"author":12696,"museum":78,"description":12697,"tags":12698,"thumbUrl":12699,"material":86,"size":86,"collection":86,"collections":12700,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},234170,"yun-guan-tu-juan-gao-ting-li-234170","云冠图卷","高廷礼","[明]（一三五o至一四二三）本宋尚书张镇后，出继高氏。初名棅，字彦恢，自号漫士（一作慢仕），福建长乐人。永乐（一四o三至一四二四）初自布衣召授翰林待诏，迁为典籍。博学能文，工书、画，世称三绝，为闽中十才子之一。书得汉隶法，画善山水。宗米芾、高克恭，笔力苍古，墨气秀润，自成一家。有木天清气集、啸台集。卒年七十四。《明史本传、明史艺文志、福建通志、板画记、明画录、无声诗史、名山藏、玉堂丛话、曝书亭集》",[23,24,25,26,27,38,36,29,31,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458c9f96c3727df079f353f9302c1955.jpg",[],{"id":12702,"slug":12703,"title":12704,"dynasty":2508,"author":200,"museum":78,"description":12705,"tags":12706,"thumbUrl":12708,"material":359,"size":360,"collection":86,"collections":12709,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},231841,"gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-xia-bu-yi-ming-231841","古画花鸟山水人物粉本-人物卷下部","本卷四段各有章法，右侧武将以精工线描勾勒甲胄纹饰，华丽细致，威严尽显。中段渡海一景，晕染水波灵动逼真，舟中撑船人姿态写实自然，朴拙设色晕开沧溟意境。左二高僧以白描写就，衣褶圆转舒展，头光晕染柔和，尽显出尘安然气度，最左僧者神情静谧淡然。整体兼工带写，白描清雅简练，设色柔和古旧，精准捕捉不同身份人物特质，笔意松弛却神态各彰，尽显古雅的东瀛人物画韵味。",[23,24,25,26,82,28,60,7,1144,29,12707,9766,33],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9b18253a54221ac9ea9ae208a86fb0.jpg",[],{"id":12711,"slug":12712,"title":12713,"dynasty":109,"author":1350,"museum":78,"description":5808,"tags":12714,"thumbUrl":12715,"material":359,"size":360,"collection":86,"collections":12716,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},230925,"shan-shui-tu-shan-mian-wang-hui-230925","山水图扇面",[24,694,27,36,29,33,7,34,273,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c843009ff7eae11222537a7e27c9da.jpg",[],{"id":12718,"slug":12719,"title":12720,"dynasty":109,"author":1350,"museum":78,"description":5808,"tags":12721,"thumbUrl":12722,"material":359,"size":360,"collection":86,"collections":12723,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},230924,"xi-tang-hua-bie-tu-wang-hui-230924","溪堂话别图",[24,25,694,27,36,29,33,31,272,32,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3b2d257e93d1057e95b449ccd79ed5.jpg",[],{"id":12725,"slug":12726,"title":12727,"dynasty":2508,"author":12728,"museum":78,"description":12729,"tags":12730,"thumbUrl":12734,"material":359,"size":360,"collection":86,"collections":12735,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":71},230642,"rembrandt-harmensz-van-rijn-030-lun-bo-lang-230642","Rembrandt Harmensz.van Rijn - 030","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[8670,12731,30,31,7,33,12732,60,12733],"风景画","乡村","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff980775fb95df8229b0b3bdb63d90cc5.jpg",[],{"id":12737,"slug":12738,"title":896,"dynasty":109,"author":3216,"museum":78,"description":12739,"tags":12740,"thumbUrl":12741,"material":359,"size":360,"collection":86,"collections":12742,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},230352,"shan-shui-ce-liu-yu-230352","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,27,36,230,25,58,38,29,7,61,33,34,505,1687,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb46bf774b4ee06c53bb0d0f4bef3403.jpg",[],{"id":12744,"slug":12745,"title":12746,"dynasty":109,"author":11202,"museum":78,"description":12747,"tags":12748,"thumbUrl":12749,"material":86,"size":86,"collection":86,"collections":12750,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":71},230252,"hu-shan-sheng-jing-tu-wan-shang-lin-230252","湖山胜境图","以大青绿设色晕染湖山，远景层峦迤逦，青碧山峦如翡翠层叠舒展，林树错落点染岸渚，晕开清寂悠远的山野意趣。\n中幅湖面空蒙开阔，数帆缓行、舟楫往来，为静穆烟波晕开灵动生气。近岸山居枕水而建，花树环拥亭台，青绿皴染的坡岸雅致温润；下方城楼依水伫立，牵起市井烟火与丘林幽秀的相融之境。\n古雅厚重的赭石底色晕开沉朴古韵，青绿石色提亮山水层次，将庙堂规整与林泉幽秀揉合，尽展江南湖山的安和清宁，是兼具写实意趣与文人雅韵的青绿佳构。",[23,24,25,56,28,29,61,32,7,247,33,273,3832,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7d75c51828938af5b421c7b261fab1.jpg",[],{"id":12752,"slug":12753,"title":12754,"dynasty":18,"author":2317,"museum":78,"description":8376,"tags":12755,"thumbUrl":12756,"material":359,"size":360,"collection":86,"collections":12757,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},228871,"shu-hua-he-bi-chi-bi-sheng-you-tu-quan-juan-wen-zheng-ming-228871","书画合壁赤壁胜游图全卷",[23,24,25,26,27,28,29,34,31,7,33,303,38,37,36,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3197d20fc0c4379574693896b4e96fe.jpg",[],{"id":12759,"slug":12760,"title":12761,"dynasty":5531,"author":12762,"museum":78,"description":12763,"tags":12764,"thumbUrl":12765,"material":86,"size":86,"collection":86,"collections":12766,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},227734,"yan-jiang-fan-ying-tu-ti-ba-kuan-cheng-qi-227734","烟江帆影图（题跋款）","程琦","程琦(1911-1988)，字伯奋，号二石老人，又号可庵，斋号双宋楼，安徽合肥人。著有《萱晖堂书画录》。",[23,24,25,215,27,28,29,7,3869,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18cb33f42d3f3dc1683ffc942df99f2.jpg",[],{"id":12768,"slug":12769,"title":4043,"dynasty":153,"author":200,"museum":78,"description":12770,"tags":12771,"thumbUrl":12772,"material":86,"size":86,"collection":86,"collections":12773,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":71},227354,"dai-du-tu-ye-yi-ming-227354","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。",[23,55,24,25,529,5254,27,28,29,84,7,34,63,505,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":12775,"slug":12776,"title":12777,"dynasty":109,"author":200,"museum":96,"description":12778,"tags":12779,"thumbUrl":12781,"material":28,"size":12782,"collection":86,"collections":12783,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":46},223559,"xie-she-yan-bo-yi-ming-223559","蠏舍烟波","山，水，白鹭，鳜鱼，斜风细雨，在幽静的群山里，在碧波荡漾的湖面上，一幅江南水乡的渔歌图，跃然于怀。",[24,25,57,28,36,29,7,33,246,142,12780,175],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3207da68f8ba24673a8fcc9dafd2290d.jpg","16.9x40.4厘米",[],{"id":12785,"slug":12786,"title":12787,"dynasty":109,"author":12788,"museum":4628,"description":12789,"tags":12790,"thumbUrl":12791,"material":12792,"size":12793,"collection":86,"collections":12794,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":86},220741,"shan-shui-ji-6-wang-shi-min-weng-ling-wu-hong-deng-220741","山水集6","王時敏,翁陵,吳宏等","此作以虚实相生之笔绘就江崖小景。右侧危崖斜出，枯墨皴擦石体，淡晕石面肌理，浓墨点苔缀以古木，苍朴老硬的笔意尽显崖壁嶙峋。留白铺作烟江，一叶扁舟静泊水面，素帆悠然垂落，水色空濛，淡墨晕染出江天相融的悠远。\n\n崖畔古松探向江面，与孤舟遥遥相对，疏密开合间，将寥廓江天的清寂禅意藏于尺幅。笔简而意足，淡墨见空灵，浓墨醒生机，寥寥数笔便勾勒出秋江独往的澹澹闲意，尽显山水写意的悠远情致。",[24,27,36,230,29,7,158,33,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54953b7e58196476470f08eeb101c783.jpg","水墨,紙本,冊","各約22 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，远峰澹澹浮沉于烟波间，将盈尺扇面铺展成辽远江天。\n笔墨简净松秀，干笔皴擦写尽山石肌理，淡赭轻敷晕开清秋意韵，干湿墨色相衬相融，以咫尺之地写千里江山，尽显文人画萧散简远的雅致意趣，藏着林下幽居的闲淡况味。",[5712,694,27,36,29,32,422,7,34,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e70dc29b24f428c569264a58fc2025.jpg",[],{"id":13260,"slug":13261,"title":13262,"dynasty":109,"author":7531,"museum":78,"description":13263,"tags":13264,"thumbUrl":13265,"material":86,"size":86,"collection":86,"collections":13266,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},236530,"ren-wu-gu-shi-ce-chen-zi-236530","人物故事册","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。",[24,25,28,57,60,141,31,7,422,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4152fd2bdc1dbb197b8f2aa605538b2.jpg",[],{"id":13268,"slug":13269,"title":13270,"dynasty":109,"author":13271,"museum":78,"description":13272,"tags":13273,"thumbUrl":13274,"material":86,"size":86,"collection":86,"collections":13275,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},236517,"sun-shan-shui-ce-wang-ji-236517","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[24,25,230,27,36,29,7,63,32,84,1942,273,1030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9123c6a22e66c55165deaeadd18a1968.jpg",[],{"id":13277,"slug":13278,"title":6459,"dynasty":109,"author":6460,"museum":78,"description":13279,"tags":13280,"thumbUrl":13281,"material":86,"size":86,"collection":86,"collections":13282,"showCount":280,"zanCount":592,"manualWeight":11,"mainColor":46},235925,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235925","此作用淡赭花青晕染山峦，笔墨秀雅清润。主峰巍峨耸峙，山道蜿蜒穿梭林麓间，隐见行人点缀，衬出山势层叠幽深。\n\n山下平湖如镜，朱红梵宇醒目跳脱，黛瓦飞檐掩映在葱郁林木之中，禅意悠然自生。水面孤舟泛波，汀渚浅草错落铺陈，边角茅舍独居一隅，愈显湖山空寂安谧。\n\n题诗与山水相映相合，诗画交融，将佛刹藏于烟岚的清寂禅境缓缓铺陈，尽显江南湖山的灵秀温婉，勾勒出古刹隐于山水间的沉静意蕴，整体意境清和淡远，雅静出尘。",[24,25,230,28,29,61,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb816cf344e394941455e1274c52e576.jpg",[],{"id":13284,"slug":13285,"title":596,"dynasty":109,"author":13286,"museum":78,"description":13287,"tags":13288,"thumbUrl":13289,"material":359,"size":360,"collection":86,"collections":13290,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},235903,"shan-shui-tu-ce-guan-quan-235903","官铨","官铨（公元17-18世纪初）〔清〕字方楷，号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[24,25,230,27,38,37,29,7,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaef17b071dce509c52aba139b606518.jpg",[],{"id":13292,"slug":13293,"title":13294,"dynasty":109,"author":13295,"museum":78,"description":13296,"tags":13297,"thumbUrl":13298,"material":359,"size":360,"collection":86,"collections":13299,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},235314,"ba-jia-shan-shui-ce-qing-shan-ju-you-tu-ce-ye-sun-huang-235314","八家山水册-青山桔柚图册页","孙璜","字尚甫。善写意人物，故宫博物院藏有其顺治十八年（一六六一）仿仇英汉宫图，王时敏题之。",[24,25,230,28,29,60,7,33,175,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5693781f9f69345e78a9bfcdf79cb040.jpg",[],{"id":13301,"slug":13302,"title":13303,"dynasty":109,"author":1350,"museum":78,"description":5808,"tags":13304,"thumbUrl":13305,"material":359,"size":360,"collection":86,"collections":13306,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},234980,"shan-chuan-hun-hou-tu-shan-ye-wang-hui-234980","山川浑厚图扇页",[24,694,27,36,29,30,31,7,32,33,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dcc8ea08ca0097baf7f6b0804412d83.jpg",[],{"id":13308,"slug":13309,"title":896,"dynasty":109,"author":5449,"museum":138,"description":13310,"tags":13311,"thumbUrl":13312,"material":86,"size":86,"collection":86,"collections":13313,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},234798,"shan-shui-ce-dong-bang-da-234798","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,25,230,27,29,7,34,33,273,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb042b3fe03495a4a18e040a179214e1.jpg",[],{"id":13315,"slug":13316,"title":896,"dynasty":18,"author":3291,"museum":78,"description":12060,"tags":13317,"thumbUrl":13318,"material":86,"size":86,"collection":86,"collections":13319,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},234667,"shan-shui-ce-shao-mi-234667",[24,25,230,27,29,32,61,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87533a3927bc00359434129256c29bce.jpg",[],{"id":13321,"slug":13322,"title":13323,"dynasty":18,"author":200,"museum":78,"description":6471,"tags":13324,"thumbUrl":13325,"material":86,"size":86,"collection":86,"collections":13326,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":71},234657,"ming-ren-shan-shui-tu-shan-ce-yi-ming-234657","明人山水图扇册",[24,25,694,29,27,28,36,7,33,32,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e3375580369711abc6ff084fd7af60.jpg",[],{"id":13328,"slug":13329,"title":13330,"dynasty":109,"author":13331,"museum":78,"description":13332,"tags":13333,"thumbUrl":13334,"material":86,"size":86,"collection":86,"collections":13335,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},234553,"yu-mu-shang-xin-ce-shu-ju-shi-ce-ye-hao-ming-long-234553","娱目赏心册-书菊石册页","郝明龙","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[24,25,230,27,38,58,7,33,505,999,60,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36cd7fd81ba481e17f4f5acd6bb55ba3.jpg",[],{"id":13337,"slug":13338,"title":9593,"dynasty":153,"author":200,"museum":138,"description":13339,"tags":13340,"thumbUrl":13341,"material":588,"size":13342,"collection":86,"collections":13343,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":71},234073,"qing-xi-feng-fan-tu-ye-yi-ming-234073","此图原载《宋元集粹册》，画寥廓江天之景。远山近树，汀渚丛草。江面一舟扬帆破浪前进。近处丛林掩映，江面空旷浩渺。图中远山用淡墨轻勾淡染，近山丛林用浓墨写之。风帆、树石、布局用笔随意疏放，不刻意追求精雕细刻之功，但却浑然天成，生动有致。构图平远，虚实、浓淡、疏密处理匠心独具。无款。画中钤有「黔宁王子子孙永保之」等印二方，曾经黔宁王沐璘收藏，不见著录。",[55,24,27,28,230,29,7,9596,816,31,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296115301bc38a4107a1d65372844c38.jpg","纵24.6、横25.6厘米",[],{"id":13345,"slug":13346,"title":13347,"dynasty":2508,"author":200,"museum":78,"description":13348,"tags":13349,"thumbUrl":13351,"material":86,"size":86,"collection":86,"collections":13352,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},225432,"fu-shi-hui-190-yi-ming-225432","浮世绘190","画面以雄峻山城起笔，天守阁踞于丹红崖石之上，石砌城垣古朴厚重，苍松虬枝斜倚岩壁，黑瓦层叠尽显肃穆巍峨。左侧浩渺青湖之上，扁舟独行划破碧波，对岸田畴铺展，浅褐远山晕染天际，霞色将长空晕开绯色暖光。\n\n鲜亮明快的配色将靛蓝水色、朱砂岩彩与米黄纸底交织相融，远近层次分明，把武士城郭的庄重与乡野湖山的安然糅合为一体，带着和风绘卷独有的雅致意趣，将旅人眼中的山城盛景定格，尽显江户风景画静谧悠远的独特韵味。",[7611,7612,28,29,61,30,7,33,972,58,13350],"塔楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa8f869ea786ff499894457de29c7b6.jpg",[],{"id":13354,"slug":13355,"title":13356,"dynasty":109,"author":5848,"museum":78,"description":13357,"tags":13358,"thumbUrl":13359,"material":588,"size":13360,"collection":86,"collections":13361,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},223255,"yan-shan-ba-jing-tu-2-tai-ye-qiu-feng-zhang-ruo-cheng-223255","燕山八景图-2-太液秋风","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,24,25,29,28,229,61,32,7,174,58,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3b62de7a2ab18ba86850270195a108.jpg","34.7cm，横40.3cm",[],{"id":13363,"slug":13364,"title":13365,"dynasty":18,"author":10351,"museum":20,"description":13366,"tags":13367,"thumbUrl":13368,"material":249,"size":13369,"collection":86,"collections":13370,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":46},219784,"za-hua-ce-6-guo-xu-219784","杂画册-6","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,27,36,230,29,7,84,3952,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56254c60a49f705831e63fed5ded6160.jpg","纵28.5 厘米 横46.5 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近岸古松虬枝横斜，苍劲中透着秀逸。一叶扁舟静泊水畔，似载旅人凝思远眺，天地间满是幽寂清旷之韵。笔墨上以皴法写山石肌理，线条沉稳，设色淡雅温润，既摹自然野趣，又融文人幽居之思，于苍莽中见细腻，尽显明代文人山水的雅致情致。",[24,29,28,36,7,3228,1052,157,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddc741d3164ef50fabc75bab817c2fa.jpg",[42],"7c6750",{"id":13529,"slug":13530,"title":13531,"dynasty":109,"author":200,"museum":78,"description":13532,"tags":13533,"thumbUrl":13537,"material":359,"size":360,"collection":86,"collections":13538,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},281510,"dong-yang-duan-hua-shan-shui-bi-yi-yi-ming-281510","东洋缎画山水壁衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[13534,13535,13536,245,7,60,996,505,2840],"缎画","壁衣","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2bea7abf597a77f675e930b1cbf701.jpg",[],{"id":13540,"slug":13541,"title":13542,"dynasty":109,"author":200,"museum":78,"description":13543,"tags":13544,"thumbUrl":13545,"material":359,"size":360,"collection":86,"collections":13546,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":71},272986,"hei-qi-bian-hui-chou-di-dong-yang-xiu-shan-shui-tu-wei-ping-yi-ming-272986","黑漆边灰绸地东洋绣山水图围屏","整体色调清雅沉静，灰绸底色晕染出如雾的水色长空。左畔浅渚生翠，草木含露，野趣悠然。中景单舟扬白帆，破开细浪，带着江海行旅的清寂诗意。远岫如黛，淡晕出的山影静立水天尽头，两艘小帆遥遥点缀，拉阔出悠远空蒙的意境。\n\n绣作针脚细腻，以绣代笔，将水波柔态、草木清润与风帆挺括晕染入微，揉合空灵意趣与中式雅致，暗合东方禅意留白美学。淡而不寡，静中藏动，将烟江渡头的闲澹景致定格屏间，观之便觉襟怀舒展，尘俗尽消。",[13011,10020,29,7,503,273,3833,12443,13536,3904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f5cadc1388978cd467ad16a8839f91.jpg",[],{"id":13548,"slug":13549,"title":13550,"dynasty":109,"author":200,"museum":78,"description":13551,"tags":13552,"thumbUrl":13555,"material":359,"size":360,"collection":86,"collections":13556,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":840},262037,"bing-shen-kuan-sa-lan-you-miao-jin-chi-bi-tu-shi-wen-bi-tong-yi-ming-262037","丙申款洒蓝釉描金赤壁图诗文笔筒","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[9138,12444,29,7,3229,13553,37,13554],"诗文","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155d599ef31201bf19c717c4c15b3ec.jpg",[],{"id":13558,"slug":13559,"title":13560,"dynasty":109,"author":200,"museum":78,"description":9135,"tags":13561,"thumbUrl":13563,"material":359,"size":360,"collection":86,"collections":13564,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":71},261885,"qing-hua-you-li-hong-shan-shui-tu-guan-yi-ming-261885","青花釉里红山水图罐",[9138,13562,29,7,63,60,31,142,175],"青花釉里红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d70ca268ff52ed64c13433a941c0e68.jpg",[],{"id":13566,"slug":13567,"title":13568,"dynasty":109,"author":200,"museum":78,"description":13569,"tags":13570,"thumbUrl":13572,"material":359,"size":360,"collection":86,"collections":13573,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},259994,"bai-di-fan-hong-cai-ren-wu-tu-bi-yan-hu-yi-ming-259994","白地矾红彩人物图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[9138,4213,13571,28,60,7,32,29,175,33],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb983559777c8d90b63846b4e330c4136.jpg",[],{"id":13575,"slug":13576,"title":13577,"dynasty":109,"author":200,"museum":78,"description":13578,"tags":13579,"thumbUrl":13580,"material":359,"size":360,"collection":86,"collections":13581,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},248737,"qian-long-kuan-hei-qi-miao-jin-shan-shui-tu-ba-fang-pan-yi-ming-248737","乾隆款黑漆描金山水图八方盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[12443,12444,8892,28,29,33,34,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1729d1d005aac9542934177043051ee.jpg",[],{"id":13583,"slug":13584,"title":13585,"dynasty":18,"author":200,"museum":78,"description":13586,"tags":13587,"thumbUrl":13589,"material":359,"size":360,"collection":86,"collections":13590,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":182},246260,"ti-hong-chi-bi-fu-tu-fang-xing-wei-jiao-si-ceng-he-yi-ming-246260","剔红赤壁赋图方形委角四层盒","雕漆,是漆工艺中的一个品种,是中国漆器特有的装饰技法,是在油光漆兑入入漆颜料,数十层乃至上百层地髹涂在用漆封闭处理过的胎骨上,每天只能髹涂二至三道,髹涂下道漆不可等上道漆干透,否则漆层容易缺脱,这样逐层累积到需要的厚度,用刀剔刻出浮雕花纹,表现层次与质地的美感.",[12443,10119,13588,60,7,29,4213],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f78912e5216effe8e85db8b4e9aaa3d.jpg",[],{"id":13592,"slug":13593,"title":13594,"dynasty":109,"author":13595,"museum":78,"description":13596,"tags":13597,"thumbUrl":13598,"material":359,"size":360,"collection":86,"collections":13599,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},241462,"yang-zhou-ji-shi-heng-bai-en-you-241462","扬州纪事横","白恩佑","白恩佑（1812年－？），字蘭岩，一字叔啟，號石仙，晚號石翁，山西省介休縣人。清朝官員。",[27,37,38,58,30,31,7,61,33,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567d58e31b506dd8b35dad587f2ee542.jpg",[],{"id":13601,"slug":13602,"title":13603,"dynasty":18,"author":13604,"museum":78,"description":13605,"tags":13606,"thumbUrl":13607,"material":359,"size":360,"collection":86,"collections":13608,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},240872,"shi-juan-li-meng-yang-240872","诗卷","李梦阳","李梦阳（1473年1月5日—1530年1月28日），字献吉，号空同，汉族，祖籍河南扶沟，出生于庆阳府安化县（今甘肃省庆城县），后又还归故里，故《登科录》直书李梦阳为河南扶沟人。他善工书法，得颜真卿笔法，精于古文词。明代中期文学家，复古派前七子的领袖人物。提倡“文必秦汉，诗必盛唐”，强调复古，《自书诗》师法颜真卿，结体方整严谨，不拘泥规矩法度，学卷气浓厚。李梦阳所倡导的文坛“复古”运动盛行了一个世纪，后为袁宗道、袁宏道、袁中道三兄弟为代表的“公安派”所替代。",[37,38,26,27,303,481,191,63,7,29,32,84,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d8669501aa08cedc3e954ea4176b16.jpg",[],{"id":13610,"slug":13611,"title":13603,"dynasty":109,"author":13612,"museum":138,"description":13613,"tags":13614,"thumbUrl":13619,"material":13620,"size":13621,"collection":849,"collections":13622,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 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明代著名画家文徵明之子文彭的玄孙。清初著名书画家。",[24,25,230,82,27,29,7,516,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a0e4e352c6d8bfd36100745cf16de6f.jpg",[],{"id":13846,"slug":13847,"title":896,"dynasty":109,"author":13848,"museum":78,"description":13849,"tags":13850,"thumbUrl":13851,"material":359,"size":360,"collection":86,"collections":13852,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},235304,"shan-shui-ce-zhang-feng-235304","张风","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[24,25,230,28,29,7,60,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf4e6dfbc92dc78b545f352763f419d.jpg",[],{"id":13854,"slug":13855,"title":13856,"dynasty":18,"author":200,"museum":78,"description":13857,"tags":13858,"thumbUrl":13859,"material":359,"size":360,"collection":86,"collections":13860,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},235145,"chen-dan-zhong-shan-shui-ce-yi-ming-235145","陈丹衷山水册","近岸怪石层叠错落，古松斜生遒劲清奇，寥寥松针点染出苍古生机。远江帆影孤悬，江波澹澹以留白代水韵，晕染出空濛烟波。\n\n笔墨苍秀淡雅，山石皴法朴拙简淡，淡墨晕开水汽空濛，将文人的林下闲逸藏于尺幅。诗画相映，以极简景致勾勒幽人寄情林泉、放怀天地的意趣，静中藏动，淡里含韵，尽显小品山水的悠远襟怀。",[24,25,230,27,29,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716d262a2c892cfde8cc3892627fb064.jpg",[],{"id":13862,"slug":13863,"title":13856,"dynasty":18,"author":200,"museum":78,"description":13864,"tags":13865,"thumbUrl":13866,"material":359,"size":360,"collection":86,"collections":13867,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},235139,"chen-dan-zhong-shan-shui-ce-yi-ming-235139","此作以淡笔绘就江南烟景，近岸苍松虬劲蓊翠，浅滩烟波氤氲，一叶扁舟悠然浮于水面，漾出闲淡野趣。中渚林木葱郁，远山层叠晕染，以留白衬出水雾空濛，村舍隐现山麓间，尽显幽寂清旷之致。\n诗画合璧，将倦客归思寄于山水林泉。浅绛设色清润柔和，笔墨松秀简淡，不事雕琢，以简驭繁，将江南水乡温润诗意与萧散林下之风相融，淡远意境暗合文人幽居林泉、寄情江湖的隐逸意趣，尽显雅致清远的文人山水意韵。",[55,24,25,230,28,29,273,2210,505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb02be495cd4d500c2fac8adda0e5905.jpg",[],{"id":13869,"slug":13870,"title":896,"dynasty":109,"author":13871,"museum":78,"description":11290,"tags":13872,"thumbUrl":13873,"material":359,"size":360,"collection":86,"collections":13874,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},234858,"shan-shui-ce-wang-gai-234858","王概",[24,25,230,27,29,7,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887123b7c8bb3695b9274d0932e46003.jpg",[],{"id":13876,"slug":13877,"title":896,"dynasty":18,"author":3291,"museum":78,"description":12060,"tags":13878,"thumbUrl":13879,"material":86,"size":86,"collection":86,"collections":13880,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},234666,"shan-shui-ce-shao-mi-234666",[24,25,230,27,29,7,32,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e4c3390b7a056f39afcc7ed2a00020.jpg",[],{"id":13882,"slug":13883,"title":13884,"dynasty":109,"author":13885,"museum":78,"description":13886,"tags":13887,"thumbUrl":13888,"material":86,"size":86,"collection":86,"collections":13889,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},234608,"shan-shui-wan-shan-he-wei-pu-234608","山水纨扇","何维朴","何维朴 （1842年—1922年），湖南道县人。 字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。\n同治六年（1867年）乡试副贡，官内阁中书，协办侍读，江苏候补知府。\n工书、画，晚寓上海盘梓山房，以此自给。画以山水著称。宗娄东四家，清远高妙，无时流霸悍草率习气。对于古画之鉴别尤精。书摹其祖绍基，亦得其神似。少精篆刻，宗秦汉，晚年倦于酬世不复作。有印文曰清凉山下转轮僧。收藏古印甚多，有《颐素斋印存》六卷传世。卒年八十一。",[24,694,27,28,36,29,7,33,142,31,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8afd6991804bbecdfb8e2d9db172223.jpg",[],{"id":13891,"slug":13892,"title":13893,"dynasty":153,"author":200,"museum":138,"description":13894,"tags":13895,"thumbUrl":13897,"material":588,"size":13898,"collection":86,"collections":13899,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},234021,"qiu-jiang-ming-po-tu-ye-yi-ming-234021","秋江瞑泊图页","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等",[24,25,230,27,28,29,422,7,792,34,36,1082,13896,3914],"瞑泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8612cfd66e5d358d524ad043ce2f177d.jpg","23.7×24.3cm",[],{"id":13901,"slug":13902,"title":13903,"dynasty":109,"author":11854,"museum":138,"description":13904,"tags":13905,"thumbUrl":13908,"material":177,"size":13909,"collection":86,"collections":13910,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},233927,"dai-lu-fang-bei-tu-ce-huang-yi-233927","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,5254,25,27,1818,38,29,32,7,60,13906,13907],"访碑","大明湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f648ea96b5330408be3747d4b9d6734.jpg","纵17.4厘米，横50.8厘米",[],{"id":13912,"slug":13913,"title":13914,"dynasty":18,"author":13915,"museum":78,"description":13916,"tags":13917,"thumbUrl":13918,"material":86,"size":86,"collection":86,"collections":13919,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},233592,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233592","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,230,7612,28,29,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3390550e8d3cbb31a15999cb185ce0bb.jpg",[],{"id":13921,"slug":13922,"title":13923,"dynasty":2508,"author":13924,"museum":78,"description":13925,"tags":13926,"thumbUrl":13927,"material":359,"size":360,"collection":86,"co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江户时代中期的画家。",[23,24,25,27,29,7,33,34,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84daba2cc964c33a2f1f9b32cdac0348.jpg",[],{"id":13930,"slug":13931,"title":3196,"dynasty":2508,"author":200,"museum":78,"description":13932,"tags":13933,"thumbUrl":13934,"material":359,"size":360,"collection":86,"collections":13935,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},231690,"shan-shui-tu-juan-yi-ming-231690","此卷以平远之境铺陈，江水宛转串联淡墨晕染的浅丘远山，晕开江乡空濛的烟岚之气。江岸虬松卓立、茅舍错落，江心归帆缓行，将江南野渡日常的清寂萧散尽数铺展。\n笔墨简逸苍润，淡墨皴擦勾勒出柔缓的山峦肌理，枯笔写就的松枝苍劲老辣，留白衬出悠远余韵。左侧题跋与画面相映成趣，诗画合璧，尽显文人画简淡天真的林下之风，把江天无尽的闲淡诗意融于长卷之中。",[23,24,25,26,27,29,7,33,273,143,32,36,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf68c467bc6fdbbd23d17dbddac51dc.jpg",[],{"id":13937,"slug":13938,"title":13939,"dynasty":2508,"author":200,"museum":78,"description":13940,"tags":13941,"thumbUrl":13942,"material":86,"size":86,"collection":86,"collections":13943,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":46},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[23,24,25,26,27,1442,36,29,7,272,357,4576,303,143,34,31,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":13945,"slug":13946,"title":13947,"dynasty":109,"author":200,"museum":78,"description":13948,"tags":13949,"thumbUrl":13952,"material":359,"size":360,"collection":86,"collections":13953,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":71},229668,"qian-long-qia-si-fa-lang-chi-bi-bian-hu-yi-ming-229668","乾隆 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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[24,15094,15095,15096,28,57,60,29,574,7,34,33,31],"壁画","敦煌","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ae8e7fbacee7c7c5895864d59b0fca.jpg",[],{"id":15100,"slug":15101,"title":15102,"dynasty":109,"author":200,"museum":78,"description":15103,"tags":15104,"thumbUrl":15105,"material":100,"size":86,"collection":86,"collections":15106,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},216054,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-25-yi-ming-216054","职贡图巨幅彩绘册页第3册-25","画面分左右两帧，左帧人物赤足而立，衣袂缀蓝边，手中鱼获鳞光隐现，神态憨朴；右帧舟子执桨驾竹筏，筏身纹理分明，水波轻漾间尽显渔猎劳作之态。笔触细腻入微，人物动态鲜活，衣饰、舟楫的细节勾勒逼真，色彩淡雅却富生机。整幅画作以纪实之笔捕捉边地族群风貌，于日常场景中藏生活真趣，既具史料价值，又显艺术匠心，仿佛将彼时边地与中原的交流图景凝于尺幅之间，生动可感。",[23,24,25,5254,28,57,60,2495,7,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d3cbae44c9ff1f26d00fc30b74e68b.jpg",[],{"id":15108,"slug":15109,"title":15110,"dynasty":109,"author":200,"museum":78,"description":15111,"tags":15112,"thumbUrl":15113,"material":249,"size":86,"collection":86,"collections":15114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},215596,"tian-xia-ming-shan-tu-26-yi-ming-215596","天下名山图-26","峰峦如聚，皴笔勾勒山石筋骨，苍劲中见细腻；林木若织，墨线轻描草木灵韵，繁密里藏疏朗。近观层岩叠翠间隐现亭台，似有隐逸者凭栏；远眺烟波浩渺中浮着扁舟，恰如江湖客放怀。构图疏密有致，近景沉实与远景空灵相映成趣；笔墨刚柔相济，山石硬朗线条与水面柔婉波纹相得益彰。整幅画如无声山水诗，既有山川雄浑气象，又含文人清雅情韵，引人徜徉其间，忘尘嚣而醉心自然之美。",[24,25,27,82,36,230,29,7,33,972,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb3eef3d9f407d4d6317c74cc7c7bfc.jpg",[],{"id":15116,"slug":15117,"title":15118,"dynasty":109,"author":200,"museum":78,"description":15119,"tags":15120,"thumbUrl":15121,"material":249,"size":86,"collection":86,"collections":15122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},215592,"tian-xia-ming-shan-tu-31-yi-ming-215592","天下名山图-31","墨线勾勒的水波层层叠叠，似有风掠过水面，漾起细碎涟漪。几叶扁舟散落在烟波里，或行或泊，添了几分灵动；左侧岸边旗帜轻扬，隐约可见屋舍轮廓，似是渡口人家，烟火气与水韵相融。右侧山峦起伏，松枝虬劲，林间隐现屋宇，飞檐翘角藏于绿荫中，似有幽人栖居，静穆里藏着生活的暖意。整幅画以细腻线条铺陈，构图疏密有致，水域的开阔与山峦的静谧相映成趣，古雅韵味漫溢纸间，仿佛能听见水波轻响、松风低语，引人步入这清幽淡远的山水世界。",[24,27,82,230,29,7,33,61,505,771,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee1f737c0b639876b03fcb656e4ec6d.jpg",[],{"id":15124,"slug":15125,"title":15126,"dynasty":109,"author":200,"museum":78,"description":15127,"tags":15128,"thumbUrl":15129,"material":249,"size":86,"collection":86,"collections":15130,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},215584,"tian-xia-ming-shan-tu-39-yi-ming-215584","天下名山图-39","这幅山水以简练线条勾勒，左侧山崖陡峭，皴法简洁却显嶙峋之势，几株林木点缀其间，添了生机。右侧江面开阔，波光粼粼间数艘小船悠然，或行或泊，尽显水乡闲意。远处山峦叠嶂，隐约可见屋宇错落，似藏人间烟火。整体构图疏密有致，山崖的凝重与水面的空灵相映成趣，笔墨虽简，却将山水的雄奇与悠远意境尽纳其中，让人仿佛置身于这方山水之间，听风观水，心生宁静。",[24,25,82,29,141,7,33,3258,600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53faa2f72235d5cf33680a3576e2c0c.jpg",[],{"id":15132,"slug":15133,"title":15134,"dynasty":109,"author":200,"museum":78,"description":15135,"tags":15136,"thumbUrl":15137,"material":249,"size":86,"collection":86,"collections":15138,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},215581,"tian-xia-ming-shan-tu-40-yi-ming-215581","天下名山图-40","墨线勾勒的山峦层叠错落，或巍峨耸峙，或连绵逶迤，尽显丘壑之美。林间掩映着亭台楼阁，一座宝塔立于丘巅，与葱郁草木相映成趣，人文气息融于自然景致。近岸岩石纹理细腻，河水蜿蜒流淌，几叶小舟轻泛波上，添了几分灵动。整幅画以简淡笔触绘出山水之幽、林木之秀、舟行之闲，仿佛能闻林间风语，听流水潺潺，尽显古雅清逸的意境，让人沉浸于这份静谧悠远的山水之趣中。",[24,25,230,82,27,36,29,306,516,33,231,7,61,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efab62252911f9966f29ff4a9d04f23.jpg",[],{"id":15140,"slug":15141,"title":15142,"dynasty":18,"author":15143,"museum":20,"description":15144,"tags":15145,"thumbUrl":15146,"material":86,"size":86,"collection":86,"collections":15147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":15148},203216,"shu-hua-ce-diao-rui-203216","书画册","刁锐","这幅水墨山水以淡墨晕染出空濛意境，云雾轻锁江面，远山层叠隐现，近岸松石挺秀，亭舍藏于林麓间，几叶扁舟泛于碧波，尽显江南山水的清寂雅致。山石以皴法勾勒纹理，笔墨苍润中见秀逸，树木枝干虬劲，留白处拓展了空间纵深，传递出文人寄情林泉的恬淡心境，于简淡中蕴含悠远的诗意。",[24,27,29,36,32,7,33,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5489b23db04e6e56088916aa92d59c8.jpg",[],"c9b38b",{"id":15150,"slug":15151,"title":15152,"dynasty":5531,"author":9327,"museum":20,"description":15153,"tags":15154,"thumbUrl":15155,"material":86,"size":86,"collection":86,"collections":15156,"showCount":11,"zan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