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创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,75,24,25,394,96,54,26,119,120,395,32,396,397,31,398,399,197,7,400,401],"界画","桥","建筑","庭院","长廊","古建","亭台","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],61,{"id":406,"slug":407,"title":408,"dynasty":114,"author":409,"museum":72,"description":410,"tags":411,"thumbUrl":414,"material":415,"size":416,"collection":40,"collections":417,"showCount":418,"zanCount":131,"manualWeight":11,"mainColor":187},221752,"hua-xue-jing-zhou-sheng-mao-221752","画雪景轴","盛懋","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,75,24,25,29,28,54,27,26,120,7,32,57,412,196,298,31,285,413],"茅舍","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","白纸本","151x27.3公分",[40,41],59,{"id":420,"slug":421,"title":422,"dynasty":18,"author":423,"museum":72,"description":424,"tags":425,"thumbUrl":428,"material":61,"size":429,"collection":38,"collections":430,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":66},289867,"xue-xi-yu-fu-tu-xu-dao-ning-289867","雪溪渔父图","许道宁","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[24,194,28,27,120,26,77,7,426,427,229,104,299],"渔舍","溪岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[38],57,{"id":433,"slug":434,"title":435,"dynasty":18,"author":436,"museum":72,"description":437,"tags":438,"thumbUrl":439,"material":141,"size":83,"collection":84,"collections":440,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":44},288831,"han-lin-tu-guo-xi-288831","寒林图","郭熙","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,24,28,194,77,7,120,27,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f730e4c4ef38aba763543541f0e5e17.jpg",[],{"id":442,"slug":443,"title":444,"dynasty":18,"author":445,"museum":191,"description":446,"tags":447,"thumbUrl":450,"material":82,"size":83,"collection":84,"collections":451,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":44},288243,"xue-tang-ke-hua-tu-xia-gui-288243","雪堂客话图","夏圭","此图描绘江南雪景，笔法苍劲浑厚，山石多用小斧劈破和短线条秃笔直破，从而取得了方硬奇峭，水墨苍润的艺术效果。",[23,75,24,28,194,120,99,57,77,7,196,27,448,449],"冬日","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd807fa2735ecdebe9ea2f7cddcb2e2.jpg",[],56,{"id":454,"slug":455,"title":456,"dynasty":207,"author":457,"museum":72,"description":458,"tags":459,"thumbUrl":461,"material":28,"size":462,"collection":40,"collections":463,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":187},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,75,24,25,29,28,27,31,77,177,327,460,7,26],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[40,464],"设色画精选",{"id":466,"slug":467,"title":468,"dynasty":18,"author":71,"museum":191,"description":469,"tags":470,"thumbUrl":472,"material":82,"size":83,"collection":84,"collections":473,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":44},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图","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。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[75,24,25,29,28,194,27,120,195,471,77,57,101,7],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],55,{"id":476,"slug":477,"title":478,"dynasty":18,"author":479,"museum":72,"description":480,"tags":481,"thumbUrl":483,"material":164,"size":484,"collection":40,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":187},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。",[23,75,24,25,482,28,54,27,26,101,99,197,32,120,123,7,31],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[40,38],53,{"id":488,"slug":489,"title":70,"dynasty":18,"author":71,"museum":72,"description":490,"tags":491,"thumbUrl":493,"material":141,"size":83,"collection":84,"collections":494,"showCount":495,"zanCount":65,"manualWeight":11,"mainColor":44},289346,"han-lin-ping-ye-tu-li-cheng-289346","从这幅《寒林平野图》上看，画面描绘的是萧瑟的隆冬平野景色。近景两株长松亭立，古柏形如苍虬，枝干交柯，老根盘结；中景河道曲折，似冰冻凝固，寒冬萧萧；远景烟霭空蒙而至天际，整幅画面给人一种空灵而又凄凉之感。清人孙承泽在《庚子消夏记》书中，他对《寒林平野图》的极高评价：“古木夭矫，雪色凛冽，寒鸦群集衰草中。暑月展之，如披北风图，令人可以挟扩，非营丘不能也。”这正是对李成最擅长的山水画笔法的诠释。尤其是图中所绘的树枝，无论粗细，均呈弧线曲形，将线条的力度发挥到最大程度，构成了中国古典山水画中最优美的线条。",[24,75,25,29,28,27,26,7,76,77,78,492],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d5e33a8b9dab4c46c24b3bd9614639.jpg",[],50,{"id":497,"slug":498,"title":499,"dynasty":18,"author":71,"museum":72,"description":500,"tags":501,"thumbUrl":504,"material":82,"size":83,"collection":84,"collections":505,"showCount":506,"zanCount":65,"manualWeight":11,"mainColor":44},290328,"han-lin-tu-zhou-li-cheng-290328","寒林图轴","该幅画以近景为主，画幅中央矗立著三株巨树，一湾溪水三叠流出，激流漱石，幅内烟岚飘忽游于林中，虚实相映。勾画树干、皴树皮、点叶皆用细笔，虽劲拔挺捷，然仍具一股娟秀气息，树干上勾圈出很多木瘿，枝桠若龙蛇四面分张，苍劲遒逸，涧流两侧土坡淡墨卧笔层叠皴染，笔法细腻又具变化。水纹及腾溅水花之取笔粗细并用，且劲挺有力，似闻激溅之声。",[24,75,29,28,26,102,77,7,31,327,502,503,79],"寒景","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7053bf2f5e8d19cc962f067e8bb0dcd9.jpg",[],47,{"id":508,"slug":509,"title":435,"dynasty":207,"author":208,"museum":150,"description":510,"tags":511,"thumbUrl":512,"material":183,"size":513,"collection":40,"collections":514,"showCount":506,"zanCount":131,"manualWeight":11,"mainColor":187},219772,"han-lin-tu-wen-zheng-ming-219772","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”。",[23,24,28,29,27,26,77,78,31,101,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[40],{"id":516,"slug":517,"title":518,"dynasty":114,"author":519,"museum":520,"description":521,"tags":522,"thumbUrl":524,"material":525,"size":526,"collection":84,"collections":527,"showCount":528,"zanCount":131,"manualWeight":11,"mainColor":44},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","北京故宫博物院","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[24,29,28,54,26,27,31,32,197,327,400,102,328,101,523,78,7,298],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","纸本设色","97.4×41.2cm",[],43,{"id":530,"slug":531,"title":532,"dynasty":114,"author":533,"museum":72,"description":534,"tags":535,"thumbUrl":536,"material":61,"size":84,"collection":40,"collections":537,"showCount":538,"zanCount":131,"manualWeight":11,"mainColor":187},218741,"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","张雨","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[23,24,25,28,54,27,26,120,77,31,297,7,123,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[40],39,{"id":540,"slug":541,"title":542,"dynasty":18,"author":543,"museum":191,"description":544,"tags":545,"thumbUrl":547,"material":28,"size":84,"collection":40,"collections":548,"showCount":549,"zanCount":131,"manualWeight":11,"mainColor":44},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。",[24,546,29,27,26,7,77,99,34,120,79],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9b66ef1b1a00835ad849fb37b80a87.jpg",[40],38,{"id":551,"slug":552,"title":553,"dynasty":114,"author":554,"museum":520,"description":555,"tags":556,"thumbUrl":558,"material":559,"size":560,"collection":40,"collections":561,"showCount":562,"zanCount":131,"manualWeight":11,"mainColor":44},221792,"xue-shan-tu-cao-zhi-bai-221792","雪山图","曹知白","《雪山图》卷描绘寒冬江岸景色，是沈周山水墨画的代表作。\n曲折的寒江两岸，岩崖逶迤，山峦延绵，老树槎砑，苍松傲然。\n江岸树石间点缀着紧闭门窗的房舍，静守孤舟的渔翁和身着寒装的行人，给画面增添了寒荒萧瑟的氛围。\n山石以老硬简率的笔法勾皴，以秃笔浓墨点苔，形成浓淡交错、疏密有致的韵律。\n这幅画构图宏阔，笔致挺劲凝炼，墨彩豪放雄逸，形成浑厚之势。",[23,24,28,26,29,27,195,311,77,7,31,197,557],"孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27e97755cc21cee6f7621a139816eab.jpg","绢本墨笔","纵97.1厘米，横55.3厘米",[40,41],37,{"id":564,"slug":565,"title":566,"dynasty":114,"author":567,"museum":191,"description":568,"tags":569,"thumbUrl":571,"material":82,"size":83,"collection":84,"collections":572,"showCount":573,"zanCount":11,"manualWeight":11,"mainColor":44},290502,"han-lin-zhong-kui-zhou-chen-lin-290502","寒林钟馗轴","陈琳","绘严寒冬季，树木枝叶疏落，在萧旷之野，身材魁伟的钟馗伫立于林下的坡地上!胸怀中抱有笏板，头戴幞巾，穿宽身袍服，腰系玉带，脚穿皂靴，厂‘袖因风而飘，缩着颈脖，显出寒风凛凛冷意。但形象威严，目睛圆瞪，须髯如戟，炯炯有神，背景为枯树荆柯，宽阔坡陀为枯草所覆盖，斜坡上长有几棵大树，树干挺拔直上，顶天立地：树干上有不少疤结，枝叶疏落，大树下的丛丛荆柯枝干交错，树叶脱落，显示是严寒的冬天季节。作者所描绘一片寒林，枯梢老槎，显得苍劲高古，枝丫相互穿插，虚实、浓淡的处理，都是为了表现寒林的深度，画家利用虚实关系拉大了空间，作者不但在寒林的后面用淡墨画了类似的树木，还以云雾来加强树林的纵深，使人感到寒气逼人、全图笔法简括刚韧，以线描为主，辅以皴染，明显带有南宋画院体风貌。人物造型准确，刻画得生动传神，钟馗的衣纹十分简洁，和周围景物的描绘上又十分准确精到，因而能达到情景交融的境界。这是此画最为成功之处。它在于将钟馗缩脖无颈，一副缩着脖子畏寒的样子跃然纸上，瑟缩着的钟馗和寒林一样都突出一个寒字，相互衬托，加强了作品荒寒气氛。故此画在人物形态神情的刻画及其立意上颇有独到之处。",[24,29,102,28,77,570,79,7],"钟馗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9242d4dde31567d9c1e594d9288317.jpg",[],28,{"id":575,"slug":576,"title":577,"dynasty":18,"author":307,"museum":520,"description":578,"tags":579,"thumbUrl":582,"material":583,"size":584,"collection":166,"collections":585,"showCount":586,"zanCount":131,"manualWeight":11,"mainColor":44},223447,"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[23,24,29,28,54,77,580,581,7,157,26,285,155],"鸿雁","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","绢本，水墨","125.9＊92.6cm",[166,41],27,{"id":588,"slug":589,"title":590,"dynasty":207,"author":591,"museum":72,"description":592,"tags":593,"thumbUrl":598,"material":141,"size":599,"collection":40,"collections":600,"showCount":586,"zanCount":11,"manualWeight":11,"mainColor":44},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","蓝瑛","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。",[23,24,54,27,29,26,30,32,123,327,242,594,102,77,356,31,120,595,7,596,597],"小屋","水榭","雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg","纵82.3厘米，横28.9厘米",[40,464],{"id":602,"slug":603,"title":604,"dynasty":207,"author":605,"museum":606,"description":607,"tags":608,"thumbUrl":610,"material":164,"size":611,"collection":40,"collections":612,"showCount":586,"zanCount":11,"manualWeight":11,"mainColor":44},219939,"han-lin-tiao-shu-tu-zhang-lu-219939","寒林挑书图","张路","辛辛那提艺术博物馆","张路（1464-1538），字天驰，号平山，仅以字行于世，祥符（今河南开封）人。擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名。",[23,24,28,54,27,609,102,77,7,26],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421caf7257300c2841033656677c2b35.jpg","132.4x71.4",[40],{"id":614,"slug":615,"title":616,"dynasty":18,"author":617,"museum":191,"description":618,"tags":619,"thumbUrl":624,"material":84,"size":84,"collection":84,"collections":625,"showCount":626,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[23,75,24,25,29,28,26,27,99,77,124,31,157,32,620,158,7,56,371,621,622,623],"渔舟","山石皴染","水墨山水","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],26,{"id":628,"slug":629,"title":630,"dynasty":207,"author":591,"museum":20,"description":631,"tags":632,"thumbUrl":633,"material":634,"size":635,"collection":84,"collections":636,"showCount":626,"zanCount":131,"manualWeight":11,"mainColor":44},222594,"jiang-gao-fei-xue-tu-li-zhou-lan-ying-222594","江皋飞雪图立轴","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。",[23,24,25,29,26,54,27,356,77,31,594,102,120,124,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6635bdf6b12960c4fed02b92366856.jpg","绢本设色","148cmx46cm",[],{"id":638,"slug":639,"title":553,"dynasty":18,"author":436,"museum":191,"description":437,"tags":640,"thumbUrl":641,"material":82,"size":83,"collection":84,"collections":642,"showCount":643,"zanCount":11,"manualWeight":11,"mainColor":44},290168,"xue-shan-tu-guo-xi-290168",[24,194,2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。\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。",[75,24,26,120,394,29,27,31,153,122,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa073fbe6026acf7b071e27be9e2b4dd.jpg",[],19,{"id":739,"slug":740,"title":741,"dynasty":18,"author":307,"museum":72,"description":742,"tags":743,"thumbUrl":744,"material":61,"size":745,"collection":40,"collections":746,"showCount":737,"zanCount":11,"manualWeight":11,"mainColor":44},218985,"han-lin-dai-du-tu-yi-ming-218985","寒林待渡图","河岸边的岩石上有两棵松树，它们伸出手指和爪子，像虬龙在跳跃，后面是枯枝和其他树木。在空地之间有一个简单的小屋，另一边是停泊在岸边的船，一个人拿着杖，另一个人推着驴子过去。场景中间有一个平坦的斜坡，一直蜿蜒到远方，在一个角落里，有一个带着篱笆的院子的小屋，两个人在一起喝酒。山丘消失在远方，远处山峰的轮廓在烟和雾中飘荡。整幅画，除了前景的松树和石头比较厚重和紧凑外，都是一个闲适而简单的场景，表达了冬天的寒冷和寂静的情绪。",[23,24,28,27,29,26,523,78,229,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d10dfa682a87984e0bffc7b101e7596.jpg","136.8x99.7",[40],{"id":748,"slug":749,"title":750,"dynasty":114,"author":751,"museum":191,"description":752,"tags":753,"thumbUrl":761,"material":82,"size":83,"collection":84,"collections":762,"showCount":763,"zanCount":11,"manualWeight":11,"mainColor":187},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","钱选","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[23,75,24,95,25,26,54,96,754,99,755,155,756,757,313,758,7,759,79,760,449],"秋江","丹枫","水岸","村居","斜阳","行书","待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],18,{"id":765,"slug":766,"title":408,"dynasty":18,"author":423,"museum":72,"description":767,"tags":768,"thumbUrl":770,"material":141,"size":771,"collection":84,"collections":772,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":44},290299,"hua-xue-jing-zhou-xu-dao-ning-290299","崇山峻岭，峰峦积雪，百木俱凋，苍松挺立。雪江中，渔夫披簑垂钓，溪畔上，三人围炉饮酒。通幅以墨渲染水天，更觉阴冷萧瑟。",[24,194,29,120,769,77,7,27,28,80],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff213122db4f95a5a16f09c320c5b6ab0.jpg","169.2x103.2",[],17,{"id":775,"slug":776,"title":777,"dynasty":18,"author":778,"museum":191,"description":779,"tags":780,"thumbUrl":781,"material":82,"size":83,"collection":84,"collections":782,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":187},289591,"si-ma-huai-shan-shui-he-juan-mi-you-ren-289591","司马槐山水合卷","米友仁","米友仁（1074-1153），一名尹仁，字元晖，小名寅哥、鳌儿，晚号懒拙老人，山西太原人，定居润州（今江苏镇江）。宋朝画家，系北宋画家米芾长子，世称“小米”。",[23,75,24,25,95,28,26,77,124,101,7,503,759,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32de782556d72120e65730b14284cc93.jpg",[],{"id":784,"slug":785,"title":786,"dynasty":18,"author":787,"museum":191,"description":788,"tags":789,"thumbUrl":791,"material":82,"size":83,"collection":84,"collections":792,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":44},288944,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-288944","潇湘八景-江天暮雪","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。",[24,95,194,28,27,120,790,7,31,99,155,400,162],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6cad3d138a2f588d7e6ddb399c2267.jpg",[],{"id":794,"slug":795,"title":796,"dynasty":237,"author":391,"museum":191,"description":797,"tags":798,"thumbUrl":800,"material":82,"size":83,"collection":84,"collections":801,"showCount":802,"zanCount":11,"manualWeight":11,"mainColor":44},235665,"shan-shui-ping-yuan-jiang-235665","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。",[24,29,54,394,96,27,26,195,32,58,57,799,101,177,31,7],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],16,{"id":804,"slug":805,"title":806,"dynasty":18,"author":648,"museum":191,"description":649,"tags":807,"thumbUrl":808,"material":84,"size":84,"collection":84,"collections":809,"showCount":810,"zanCount":11,"manualWeight":11,"mainColor":44},227437,"han-lin-ju-qin-tu-zhou-gao-dao-227437","寒林聚禽图轴",[23,24,25,75,29,96,27,26,7,155,523,78,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37bba1188351b629f22203bd50fb89f.jpg",[],15,{"id":812,"slug":813,"title":814,"dynasty":815,"author":816,"museum":817,"description":818,"tags":819,"thumbUrl":821,"material":84,"size":84,"collection":40,"collections":822,"showCount":810,"zanCount":11,"manualWeight":11,"mainColor":823},202809,"han-lin-wan-shan-tu-zhou-huang-bin-hong-202809","寒林晚山图轴","近代","黄宾虹","上海博物馆","笔墨沉厚华滋，积墨层层晕染山峦，皴擦点染交织出山石苍劲肌理。寒林枝干虬曲古拙，溪流蜿蜒，飞瀑潺潺，屋舍隐于林麓间，添静谧生趣。远山云雾氤氲，虚实相生，苍茫幽深的晚山意境跃然纸上，尽显传统山水的浑厚气韵与文人雅趣。",[24,26,28,27,820,7,327,122,123,177,23],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfffa3f4b895034bf9d496806e1f4b65.jpg",[40],"bcbdae",{"id":825,"slug":826,"title":827,"dynasty":207,"author":828,"museum":72,"description":829,"tags":830,"thumbUrl":831,"material":832,"size":833,"collection":84,"collections":834,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":44},231380,"xue-ye-fang-dai-tu-zhou-wen-jing-231380","雪夜访戴图","周文靖","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。",[24,26,29,28,27,99,102,77,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a3c7b82a51466d66d727a37a78efe2.jpg","绢本，淡设色","纵：161.5，横：93.9厘米",[],14,{"id":837,"slug":838,"title":839,"dynasty":114,"author":307,"museum":72,"description":840,"tags":841,"thumbUrl":843,"material":164,"size":844,"collection":40,"collections":845,"showCount":846,"zanCount":131,"manualWeight":11,"mainColor":44},291018,"han-lin-ming-hua-tu-yi-ming-291018","寒林茗话图","庭院中白梅点点，应是冬末初春之际，山石的阴面染以石青，颇有阴冷之气；阳面留白为雪，天空与留白处的对比不很明显，有如薄雪之意。房屋中，宾主聚饮甚欢，园中松竹犹绿，梅花盛开，似写宾主间之君子情谊，如岁寒之友。",[24,75,29,54,26,102,119,58,7,34,31,32,842],"品茗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf744039e940ac6d373fe15cc1260729.jpg","162.5x88.2",[40],13,{"id":848,"slug":849,"title":850,"dynasty":114,"author":307,"museum":851,"description":852,"tags":853,"thumbUrl":855,"material":856,"size":857,"collection":84,"collections":858,"showCount":846,"zanCount":11,"manualWeight":11,"mainColor":44},223445,"han-lin-gui-qiao-tu-zhou-yi-ming-223445","寒林归樵图轴","日本京都国立博物馆","远处孤山耸立，近处寒林对峙，画面空旷深远，尽显寒意料峭。图画上端有刘长卿所作诗《寻盛禅师兰若》，净慈寺平山处林禅师所书诗：“秋草黄花覆古阡，隔林何处起人烟，山僧独在山中老，唯有寒松见少年”",[23,24,28,29,26,7,77,31,27,854],"樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab559074d70afec98a2c35cecf05614.jpg","纸本，水墨","92.6＊48.9cm",[],{"id":860,"slug":861,"title":862,"dynasty":18,"author":863,"museum":191,"description":864,"tags":865,"thumbUrl":867,"material":82,"size":83,"collection":84,"collections":868,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":44},288546,"dong-jing-shan-shui-tu-li-gong-nian-288546","冬景山水图","李公年","李公年，男，画家，[宋]尝为提点江浙刑狱公事。善画山水，运笔立意，风格不下前辈。写四时之图，甚有水云余思，至于写朝暮景趣，作长江日出，疎林晚照，真若物像出没于空旷有无之间。作有《宣和画谱》.",[23,75,24,25,29,28,26,299,77,7,124,866,492,242],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73e7ea30fdbb06234008179e1525049.jpg",[],12,{"id":871,"slug":872,"title":873,"dynasty":207,"author":591,"museum":191,"description":874,"tags":875,"thumbUrl":877,"material":82,"size":83,"collection":84,"collections":878,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":44},288149,"xue-jing-shan-shui-tu-li-zhou-lan-ying-288149","雪景山水图立轴","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。",[23,24,29,26,120,77,876,99,7,31,27,54,344],"茅亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d29f7d59862ce63fecb4304eeb3687.jpg",[],{"id":880,"slug":881,"title":882,"dynasty":18,"author":307,"museum":191,"description":883,"tags":884,"thumbUrl":886,"material":82,"size":83,"collection":84,"collections":887,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":44},288553,"xiao-han-lin-tu-zhou-yi-ming-288553","小寒林图轴","几株枯木虬曲苍劲，枝桠如铁戟凌空虚张，尽现冬日萧索之态。坡岸以淡墨皴擦，带着湿润的荒寒之气，淡远林峦隐没在晕染烟霭中，将萧寒弥散至整个画幅。\n\n硬劲勾勒写出枯木老辣质感，淡墨层层晕染烘托空濛冷寂氛围。全以水墨铺陈，无艳色点缀，用极简构图铺就冬日荒林清寂意境，将山野疏旷萧寒藏于尺幅间。虽无喧嚣繁复，却带着沉静苍古的悠悠意韵，仿佛能让人踏入这片冷寂林野，感受朔风穿枝的清寒，体悟这份笔下独有的荒寒雅趣。",[24,194,29,28,27,77,7,885,79],"荒坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0308926e2fbce7cdeb7cb6683d58be4.jpg",[],11,{"id":890,"slug":891,"title":892,"dynasty":114,"author":307,"museum":72,"description":893,"tags":894,"thumbUrl":896,"material":61,"size":897,"collection":84,"collections":898,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":44},223407,"tai-xing-xue-ji-tu-zhou-yi-ming-223407","太行雪霁图轴","一群行旅或骑驴或牵骡、骆驼，在险峻的太行山径赶路，饶有北国风情。路旁枯树，山石上的白雪都令人想起冬日的严寒。缩颈弯腰及以袖口掩鼻的人物，更以生动的表情形容出隆冬的凄苦。\n该幅的山石构景雄奇，用笔劲利。前者承继北宋范宽一派的遗绪；后者则有南宋马夏的影响。",[23,24,29,54,27,26,120,31,77,327,102,7,101,242,895],"山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe095a1bc944a9d299c160ca73f1ffd9a.jpg","156x103",[],{"id":900,"slug":901,"title":499,"dynasty":114,"author":307,"museum":72,"description":902,"tags":903,"thumbUrl":906,"material":61,"size":907,"collection":84,"collections":908,"showCount":909,"zanCount":11,"manualWeight":11,"mainColor":44},223364,"han-lin-tu-zhou-yi-ming-223364","在郊野，有几株老树疏落地依傍水泽而生。树叶已全凋零落尽，露出了枯乾的枝枒，有老藤缠绕垂挂著。树木坡土都以墨色渲染，更觉得阴冷萧瑟。阵阵寒风吹皱了水面，波纹似长披麻交织如鳞状，一层一层地叠列，渐淡渐远空阔无边。",[75,24,25,29,28,904,27,523,78,7,26,229,905,123],"白描","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca2ef5a32f1edf374364dcd8a9dd9a.jpg","162.4x102.3",[],9,{"id":911,"slug":912,"title":913,"dynasty":114,"author":307,"museum":520,"description":914,"tags":915,"thumbUrl":916,"material":525,"size":917,"collection":84,"collections":918,"showCount":919,"zanCount":11,"manualWeight":11,"mainColor":44},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 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此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,24,28,27,29,26,120,327,400,32,31,101,102,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],8,{"id":921,"slug":922,"title":923,"dynasty":114,"author":307,"museum":72,"description":924,"tags":925,"thumbUrl":926,"material":61,"size":927,"collection":166,"collections":928,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},287347,"gu-mu-han-ya-tu-yi-ming-287347","古木寒鸦图","描绘了在万籁俱寂中生命力仍然强盛的古木寒树和禽鸟。图的近景，布以土坡、岩石，取势由画面左上而右下，呈三角形构图，稳定占据画面的底部。坡石上错落着几棵古树，中间两棵较大的树矗立展开，其茂密的树叶虽已脱尽，但光秃秃的枝丫仍然不屈地伸展着，透着—股孤傲的精神气，这是画面的主景。画的中部右侧，缓坡上较小的树林延伸出画外，林间有几只觅食的寒鸦。这组景物与前景的古木形成对照，间隔出较深远的空间距离。在往后面，是悠远的山峦、树林，更增加了画面空间层次感。深秋抑或是初冬，山林间是那样的寂静，一切似乎都在沉睡，只有一群寒鸦在空中纷飞着。",[24,26,28,77,155,120,7,217,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06260350e8cf4acb6d309787a66f8343.jpg","203.2x109.2",[166],{"id":930,"slug":931,"title":932,"dynasty":237,"author":933,"museum":191,"description":934,"tags":935,"thumbUrl":936,"material":84,"size":84,"collection":84,"collections":937,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":187},238827,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238827","董诰墨庄览胜图册","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 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