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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。",[23,24,25,51,115,117,116,7,30,31,82,176,100,29,228],"钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe21dd60fea833be1aafb87910d35216.jpg","纸本设色","65.7x36.6厘米",[],{"id":234,"slug":235,"title":236,"dynasty":18,"author":237,"museum":97,"description":238,"tags":239,"thumbUrl":241,"material":102,"size":103,"collection":104,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":92},290485,"han-jiang-diao-xue-tu-fan-kuan-290485","寒江钓雪图","范宽","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[25,201,26,53,52,100,7,30,59,240,84],"渔钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940c5adbd17c34e372b298c7f48423e2.jpg",[],20,{"id":245,"slug":246,"title":247,"dynasty":70,"author":132,"museum":97,"description":248,"tags":249,"thumbUrl":252,"material":104,"size":104,"collection":104,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":92},237636,"song-xu-xue-jiang-du-diao-tu-zhou-yi-ming-237636","宋旭雪江独钓图轴","此作用淡墨留白晕染出萧寒江雪，山峦素裹银装，留白衬出积雪的厚重莹润，远山淡渺隐于寒雾，虚实相生，铺就江天空阔辽远的冬日底色。近岸枯木凝雪，虬枝劲挺，虽带冬日萧索却不失清刚之态。滩头寒石隐现，细流凝冰，愈发衬出江风凛冽。扁舟泊于岸侧，渔翁瑟缩船头独钓，于天地冷寂间，晕开一缕孤高隐逸的意趣。全画笔法秀雅简淡，以极简笔墨勾勒出江雪寒林的荒寒之美，将幽人寄情山水、孤高自适的襟怀融于冷寂雪景之中。",[25,26,115,53,52,100,30,31,82,250,55,251,7],"小桥","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc940a1841726368ad68f75503a2d9d9f.jpg",[],17,{"id":256,"slug":257,"title":258,"dynasty":70,"author":259,"museum":133,"description":260,"tags":261,"thumbUrl":264,"material":265,"size":266,"collection":104,"collections":267,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":92},233914,"xue-ying-yu-ren-tu-zhou-xiang-sheng-mo-233914","雪影渔人图轴","项圣谟","图中皑皑白雪覆盖下的四株老树粗壮挺拔，叉枒错落，树叶落尽，说明时当严冬。树下水边，一渔舟泊岸，渔夫身披簔衣，头戴斗笠，持桨立船头。远处云山一抹，一望无垠。画中自题：“漫漫雪影耀江光，一棹渔人十指僵。欲泊林皋何处稳，宜随风浪酒为乡。崇祯十四年（1641）入夏大旱，忆春雪连绵，写此小景就题见志。无边居士项圣谟。”钤“项氏孔彰”、“写我心曲”等印。项圣谟时年45岁。",[25,115,26,52,57,30,59,262,263,53,7],"雪","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed770fc8b0049f5d24acfc953374461.jpg","纸本，设色","纵74.8厘米，横30.4厘米",[],{"id":269,"slug":270,"title":46,"dynasty":70,"author":225,"museum":97,"description":271,"tags":272,"thumbUrl":273,"material":104,"size":104,"collection":104,"collections":274,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":42},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[25,51,115,70,117,116,30,31,82,7,100,179,52,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":111,"author":132,"museum":279,"description":280,"tags":281,"thumbUrl":286,"material":287,"size":288,"collection":104,"collections":289,"showCount":290,"zanCount":11,"manualWeight":11,"mainColor":42},223448,"han-jiang-dai-du-tu-yi-ming-223448","寒江待渡图","美国纳尔逊阿特金斯艺术博物馆","这是一幅典型的、表达入仕愿望的待渡图，幅中烟岚中的台阁象征仕途，待渡人仿佛严阵以待般静立江岸，等待一只前来接引的小舟。另一种说法是：山中俨然而立的是寺观，待渡者相反是要表达出世的愿望。结合它所创作的元代，两种解释似乎都能成立。",[23,25,26,53,117,52,30,54,82,7,282,56,283,204,284,285],"渡头","远山","平坡","石矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e77f66f7f33d72e246016b5833f6c12.jpg","纸本","30x32厘米",[],11,{"id":292,"slug":293,"title":294,"dynasty":111,"author":132,"museum":97,"description":295,"tags":296,"thumbUrl":298,"material":102,"size":103,"collection":104,"collections":299,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":42},290407,"han-jiang-zhou-du-tu-yi-ming-290407","寒江舟渡图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[201,25,24,26,297,30,29,7,52,84],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428e029d3b90aa7f47de3dfb66758d4e.jpg",[],10,{"id":302,"slug":303,"title":304,"dynasty":70,"author":132,"museum":97,"description":305,"tags":306,"thumbUrl":310,"material":102,"size":103,"collection":104,"collections":311,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},287975,"yan-wen-gui-kuan-jiang-gan-xue-ji-tu-yi-ming-287975","燕文贵款江干雪霁图","此作用淡赭设色绘就江干雪霁之景，层叠远山以披麻皴写就岩峦肌理，峰棱清劲，寒江空阔如镜，铺展出幽寂辽远的冬日江天。坡岸点缀萧疏枯木，寥寥几笔便衬出雪后清寒荒疏。\n\n整卷笔意苍秀简淡，萧寒之气漫溢卷上，以极简笔墨勾勒出雪霁江天的空寂孤高，自带空灵散逸之韵，将幽栖避世的文人襟怀寄于荒寒山水之间，淡远出尘，意境清绝悠长。",[23,25,152,75,117,53,307,7,82,308,100,309,180],"雪山","山峦","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78467a17b700a6e662dc585beb8c8f43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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。",[319,320,321,52,30,57,250,54,31,7],"陶瓷","器","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff833b10396ab6031d530ca386313864e.jpg",[],4,1777535719728]