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鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,26,57,29,28,58,59,60,61,62,63,64,34,65,66,36,67,68,7,69,70,71,72,35,73,74],"界画","人物","楼阁","小桥","流水","船","马","牛","街市","店铺","城墙","车","码头","货船","行人","商贩","道路","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,79],"水墨画精选",8462,106,{"id":83,"slug":84,"title":85,"dynasty":86,"author":87,"museum":88,"description":89,"tags":90,"thumbUrl":94,"material":95,"size":96,"collection":97,"collections":98,"showCount":99,"zanCount":100,"manualWeight":48,"mainColor":101},220765,"fu-chun-shan-ju-tu-sheng-shan-tu-huang-gong-wang-220765","富春山居图-剩山图","元","黄公望","浙江省博物馆","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,25,26,91,92,30,34,31,7,93],"水墨","皴法","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a787b3411565c7d5dc5dd29005c0c6.jpg","绢本","横51.4公分，高31.8公分","山水画精选",[97,45],6110,22,"BDBDBD",{"id":103,"slug":104,"title":105,"dynasty":106,"author":107,"museum":108,"description":109,"tags":110,"thumbUrl":113,"material":114,"size":115,"collection":97,"collections":116,"showCount":117,"zanCount":118,"manualWeight":48,"mainColor":49},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","明","仇英","台北故宫博物院","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,24,25,26,27,28,29,57,30,58,59,34,7,111,112,38],"宫殿","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","绢本,设色","44.8x1208",[97],1347,11,{"id":120,"slug":121,"title":122,"dynasty":123,"author":124,"museum":108,"description":125,"tags":126,"thumbUrl":132,"material":133,"size":134,"collection":135,"collections":136,"showCount":137,"zanCount":138,"manualWeight":48,"mainColor":49},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","清","郎世宁","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,29,28,26,127,63,34,7,128,58,129,30,130,131],"中西合璧","草地","帐篷","坡地","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","绢本设色","纵102厘米，横813厘米","花鸟画精选",[135,45],1291,7,{"id":140,"slug":141,"title":142,"dynasty":86,"author":143,"museum":144,"description":145,"tags":146,"thumbUrl":155,"material":156,"size":157,"collection":97,"collections":158,"showCount":159,"zanCount":160,"manualWeight":48,"mainColor":101},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","上海博物馆","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。",[23,147,24,25,26,91,148,92,149,150,151,34,152,7,33,153,154],"名画","山水画","孤舟","蓑笠","渔乐","山峦","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthum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长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,25,26,28,29,57,58,59,30,34,60,61,184,172,112,111,195,196,197,198,7,152,199],"庭院","人群","松","柏","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[44,45],775,13,{"id":206,"slug":207,"title":208,"dynasty":209,"author":210,"museum":20,"description":211,"tags":212,"thumbUrl":215,"material":95,"size":216,"collection":97,"collections":217,"showCount":218,"zanCount":219,"manualWeight":48,"mainColor":49},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。",[23,24,25,26,30,91,28,213,7,34,214,149,58,37],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[97,79],763,14,{"id":221,"slug":222,"title":223,"dynasty":86,"author":224,"museum":166,"description":225,"tags":226,"thumbUrl":231,"material":232,"size":232,"collection":232,"collections":233,"showCount":234,"zanCount":235,"manualWeight":48,"mainColor":101},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","赵孟頫","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,26,28,91,92,154,153,173,30,227,228,35,7,33,229,93,230],"山","树","芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg","",[],666,12,{"id":237,"slug":238,"title":239,"dynasty":18,"author":240,"museum":20,"description":241,"tags":242,"thumbUrl":243,"material":133,"size":244,"collection":42,"collections":245,"showCount":246,"zanCount":247,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,25,26,27,28,30,112,34,7,59,172,29,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,135,45],551,9,{"id":249,"slug":250,"title":251,"dynasty":252,"author":253,"museum":166,"description":254,"tags":255,"thumbUrl":261,"material":114,"size":232,"collection":97,"collections":262,"showCount":263,"zanCount":178,"manualWeight":48,"mainColor":49},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","唐","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。",[23,147,24,26,28,30,256,257,258,149,112,7,34,259,260],"雪","枯树","飞鸟","雪景","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[97],519,{"id":265,"slug":266,"title":267,"dynasty":209,"author":210,"museum":108,"description":268,"tags":269,"thumbUrl":275,"material":276,"size":277,"collection":97,"collections":278,"showCount":279,"zanCount":11,"manualWeight":48,"mainColor":49},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,147,25,270,30,28,213,34,112,7,93,58,152,38,131,271,272,273,133,274,92],"立轴","民居","自然景观","传统技法","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","绢","纵156厘米，横160厘米",[97,79],422,{"id":281,"slug":282,"title":283,"dynasty":106,"author":284,"museum":20,"description":285,"tags":286,"thumbUrl":291,"material":292,"size":293,"collection":97,"collections":294,"showCount":295,"zanCount":48,"manualWeight":48,"mainColor":101},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","董其昌","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,147,24,25,148,92,28,91,287,30,288,112,7,64,34,169,170,131,289,37,290],"文人画","松树","坡岸","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[97,45],371,{"id":297,"slug":298,"title":299,"dynasty":18,"author":54,"museum":166,"description":300,"tags":301,"thumbUrl":305,"material":232,"size":232,"collection":232,"collections":306,"showCount":307,"zanCount":308,"manualWeight":48,"mainColor":49},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,25,26,57,29,302,58,59,60,61,62,63,64,34,65,303,68,304,7,35,69,71],"白描","商铺","轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,3,{"id":310,"slug":311,"title":53,"dynasty":123,"author":312,"museum":108,"description":313,"tags":314,"thumbUrl":323,"material":95,"size":324,"collection":44,"collections":325,"showCount":326,"zanCount":327,"manualWeight":48,"mainColor":49},222686,"qing-ming-shang-he-tu-sun-hu-222686","孙祜","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[23,29,28,57,26,315,58,59,60,61,316,34,35,317,318,319,320,303,71,7,36,195,199,272,321,322],"风俗","船只","市集","车马","城郭","街道","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","纵35．6厘米，横1152．8厘米",[44,45],333,5,{"id":329,"slug":330,"title":331,"dynasty":123,"author":332,"museum":20,"description":333,"tags":334,"thumbUrl":336,"material":40,"size":337,"collection":232,"collections":338,"showCount":339,"zanCount":308,"manualWeight":48,"mainColor":49},234922,"fu-chun-shan-tu-zhou-yun-shou-ping-234922","富春山图轴","恽寿平","图绘林木葱茂、山峦起伏的雄秀景色。此图是作者仿元黄公望《富春山图》画意之作，线条勾勒粗犷，笔势潇洒而秀润。淡墨皴染，墨色透明而不失凝重，显现出作者对黄氏笔墨技法的娴熟运用能力。",[24,25,270,91,92,30,34,112,7,35,60,335],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e6255603844435afcc8c4427ea5fcc.jpg","纵168cm，横69.2cm",[],312,{"id":341,"slug":342,"title":343,"dynasty":86,"author":344,"museum":345,"description":346,"tags":347,"thumbUrl":349,"material":156,"size":232,"collection":232,"collections":350,"showCount":351,"zanCount":48,"manualWeight":48,"mainColor":101},214568,"shan-shui-ce-9-wang-meng-214568","山水册-9","王蒙","私人收藏","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。",[24,25,91,92,348,30,60,61,34,112,152,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577bb7f080f7a1cc56e6588d150fe042.jpg",[],293,{"id":353,"slug":354,"title":355,"dynasty":106,"author":107,"museum":356,"description":357,"tags":358,"thumbUrl":361,"material":362,"size":363,"collection":97,"collections":364,"showCount":365,"zanCount":308,"manualWeight":48,"mainColor":101},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。",[23,24,29,28,92,270,30,359,7,149,58,112,151,34,360],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纸本，设色","纵127厘米，横8.5厘米",[97,45],267,{"id":367,"slug":368,"title":369,"dynasty":252,"author":253,"museum":166,"description":370,"tags":371,"thumbUrl":375,"material":376,"size":377,"collection":232,"collections":378,"showCount":379,"zanCount":308,"manualWeight":48,"mainColor":49},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。",[23,147,24,26,148,28,92,30,59,34,7,149,372,373,374,152],"山居","园林","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg","未知","Xcm*Xcm",[],250,{"id":381,"slug":382,"title":383,"dynasty":106,"author":284,"museum":108,"description":384,"tags":385,"thumbUrl":387,"material":388,"size":389,"collection":97,"collections":390,"showCount":391,"zanCount":308,"manualWeight":48,"mainColor":101},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,147,24,25,270,91,92,386,287,30,34,112,35,7,169,170,257,288,93],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 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38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[42,45],177,{"id":478,"slug":479,"title":480,"dynasty":123,"author":481,"museum":423,"description":482,"tags":483,"thumbUrl":486,"material":114,"size":487,"collection":44,"collections":488,"showCount":489,"zanCount":455,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,26,29,28,92,30,58,59,60,61,401,34,484,485,73,63,7,152,37],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,97],175,{"id":491,"slug":492,"title":493,"dynasty":86,"author":494,"museum":345,"description":495,"tags":496,"thumbUrl":497,"material":114,"size":232,"collection":97,"collections":498,"showCount":499,"zanCount":11,"manualWeight":48,"mainColor":49},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","胡廷晖","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。",[23,24,27,28,386,30,112,34,7,60,149,412,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[97],162,{"id":501,"slug":502,"title":503,"dynasty":123,"author":396,"museum":166,"description":504,"tags":505,"thumbUrl":506,"material":507,"size":508,"collection":79,"collections":509,"showCount":510,"zanCount":308,"manualWeight":48,"mainColor":101},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[23,24,26,91,30,92,173,154,34,447,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纸本，水墨","纵20厘米，横762厘米",[79],161,{"id":512,"slug":513,"title":514,"dynasty":18,"author":515,"museum":20,"description":516,"tags":517,"thumbUrl":519,"material":520,"size":521,"collection":42,"collections":522,"showCount":523,"zanCount":48,"manualWeight":48,"mainColor":49},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","夏圭","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。",[23,24,25,91,28,92,30,256,518,149,257,112,7,34],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纸本设色","纵28.2厘米，横29.5厘米",[42,97,79],160,{"id":525,"slug":526,"title":527,"dynasty":106,"author":528,"museum":20,"description":529,"tags":530,"thumbUrl":531,"material":451,"size":532,"collection":97,"collections":533,"showCount":534,"zanCount":48,"manualWeight":48,"mainColor":535},219865,"yun-shan-tu-shen-zhou-219865","云山图","沈周","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,24,91,30,92,270,34,37,112,7,401,169,170,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[97],154,"F48FB1",{"id":537,"slug":538,"title":539,"dynasty":86,"author":224,"museum":20,"description":540,"tags":541,"thumbUrl":545,"material":507,"size":546,"collection":97,"collections":547,"showCount":548,"zanCount":11,"manualWeight":48,"mainColor":101},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[23,24,25,26,91,30,153,154,92,227,542,485,34,7,543,544],"水","山丘","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[97,79],149,{"id":550,"slug":551,"title":552,"dynasty":123,"author":553,"museum":20,"description":554,"tags":555,"thumbUrl":558,"material":559,"size":560,"collection":97,"collections":561,"showCount":562,"zanCount":563,"manualWeight":48,"mainColor":101},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","朱耷","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。",[24,270,91,399,92,30,257,7,112,149,556,169,557],"钓者","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纸本，墨笔","纵197.5厘米，横57.3厘米",[97],143,1,{"id":565,"slug":566,"title":567,"dynasty":86,"author":87,"museum":20,"description":568,"tags":569,"thumbUrl":570,"material":559,"size":571,"collection":97,"collections":572,"showCount":562,"zanCount":563,"manualWeight":48,"mainColor":49},220763,"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[23,24,30,91,92,270,31,256,7,447,257,374,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纵117厘米，横55.5厘米",[97,79],{"id":574,"slug":575,"title":576,"dynasty":86,"author":224,"museum":108,"description":577,"tags":578,"thumbUrl":579,"material":414,"size":580,"collection":232,"collections":581,"showCount":582,"zanCount":11,"manualWeight":48,"mainColor":49},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,25,26,91,28,30,34,485,7,35,153,173,154,92,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":584,"slug":585,"title":586,"dynasty":123,"author":587,"museum":20,"description":588,"tags":589,"thumbUrl":590,"material":156,"size":591,"collection":97,"collections":592,"showCount":582,"zanCount":48,"manualWeight":48,"mainColor":101},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","王原祁","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,24,91,92,386,270,30,112,34,7,35,172,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[97],{"id":594,"slug":595,"title":596,"dynasty":18,"author":597,"museum":108,"description":598,"tags":599,"thumbUrl":600,"material":414,"size":232,"collection":42,"collections":601,"showCount":602,"zanCount":48,"manualWeight":48,"mainColor":49},220247,"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","李成","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。",[23,24,147,25,270,91,92,30,288,149,58,112,7,34,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[42],135,{"id":604,"slug":605,"title":606,"dynasty":123,"author":481,"museum":607,"description":608,"tags":609,"thumbUrl":612,"material":520,"size":613,"collection":97,"collections":614,"showCount":615,"zanCount":48,"manualWeight":48,"mainColor":49},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","辽宁省博物馆","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。",[23,24,610,92,28,30,34,152,7,611,35,449,130,557],"仿古","渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[97,45],131,{"id":617,"slug":618,"title":619,"dynasty":18,"author":620,"museum":607,"description":621,"tags":622,"thumbUrl":625,"material":133,"size":626,"collection":42,"collections":627,"showCount":628,"zanCount":308,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","马麟","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,147,24,25,26,28,29,92,30,623,60,316,58,7,624,461,71,34],"柳树","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,97,45],130,{"id":630,"slug":631,"title":632,"dynasty":106,"author":633,"museum":634,"description":635,"tags":636,"thumbUrl":640,"material":114,"size":641,"collection":97,"collections":642,"showCount":643,"zanCount":160,"manualWeight":48,"mainColor":101},219124,"jin-jiang-tu-juan-sun-zhi-219124","锦江图卷","孙枝","天津博物馆","孙枝，明，字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人，生卒年不详。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳",[23,24,26,27,28,30,92,152,7,637,316,34,172,38,557,461,638,639],"岛屿","远岫","近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c919032926458bb7688a31b9f9ffdb.jpg","37X595cm",[97],128,{"id":645,"slug":646,"title":647,"dynasty":123,"author":648,"museum":649,"description":650,"tags":651,"thumbUrl":652,"material":451,"size":653,"collection":97,"collections":654,"showCount":655,"zanCount":48,"manualWeight":48,"mainColor":101},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡残","大英博物馆","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。",[23,24,25,30,91,92,257,149,61,152,412,37,34,316,7,112,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 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丁已正元三日玄宰识。",[23,24,25,270,91,92,30,112,34,35,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[97],86,{"id":839,"slug":840,"title":705,"dynasty":123,"author":706,"museum":166,"description":841,"tags":842,"thumbUrl":843,"material":376,"size":377,"collection":232,"collections":844,"showCount":845,"zanCount":563,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,26,27,28,30,386,29,92,152,34,37,7,35,172,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],85,{"id":847,"slug":848,"title":849,"dynasty":850,"author":851,"museum":166,"description":852,"tags":853,"thumbUrl":859,"material":376,"size":377,"collection":860,"collections":861,"showCount":862,"zanCount":48,"manualWeight":48,"mainColor":535},225912,"charing-cross-bridge-the-thames-1903-mo-nai-225912","Charing Cross Bridge, The Thames, 1903","不详","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。",[854,855,36,7,856,857,858],"油画","印象派","雾景","晨光","城市风光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaa82ff5dd02ac7c2b14ef3a3d991a9.jpg","油画精选",[860],83,{"id":864,"slug":865,"title":866,"dynasty":850,"author":867,"museum":166,"description":868,"tags":869,"thumbUrl":878,"material":376,"size":377,"collection":860,"collections":879,"showCount":862,"zanCount":308,"manualWeight":48,"mainColor":439},225822,"starry-night-1888-fan-gao-225822","Starry Night 1888","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。",[854,870,871,872,873,7,874,36,316,58,875,876,877],"后印象派","厚涂技法","星空","星星","水面倒影","夜晚","灯光","河岸草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9fc3dec81f00cc8603582b4eaf305ab.jpg",[860],{"id":881,"slug":882,"title":883,"dynasty":86,"author":224,"museum":144,"description":884,"tags":885,"thumbUrl":889,"material":95,"size":890,"collection":97,"collections":891,"showCount":892,"zanCount":563,"manualWeight":48,"mainColor":101},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。",[23,24,25,26,91,153,173,30,92,886,887,31,61,888,34,149,258,7,316],"烟江","叠嶂","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[97,79],82,{"id":894,"slug":895,"title":896,"dynasty":123,"author":481,"museum":166,"description":897,"tags":898,"thumbUrl":901,"material":232,"size":232,"collection":97,"collections":902,"showCount":903,"zanCount":48,"manualWeight":48,"mainColor":101},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》。",[24,899,270,92,386,30,900,149,258,447,34,7,58,37],"水墨画","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[97],81,{"id":905,"slug":906,"title":907,"dynasty":86,"author":908,"museum":108,"description":909,"tags":910,"thumbUrl":911,"material":451,"size":912,"collection":97,"collections":913,"showCount":903,"zanCount":11,"manualWeight":48,"mainColor":101},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[23,24,26,91,92,30,169,639,34,7,32,214,485,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[97],{"id":915,"slug":916,"title":917,"dynasty":18,"author":706,"museum":918,"description":919,"tags":920,"thumbUrl":921,"material":114,"size":922,"collection":97,"collections":923,"showCount":924,"zanCount":563,"manualWeight":48,"mainColor":439},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","秋江渔艇图","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",[23,24,148,270,91,92,30,149,60,61,151,34,112,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[97],79,{"id":926,"slug":927,"title":928,"dynasty":123,"author":929,"museum":423,"description":930,"tags":931,"thumbUrl":936,"material":114,"size":937,"collection":97,"collections":938,"showCount":924,"zanCount":48,"manualWeight":48,"mainColor":101},218708,"qian-long-nan-xun-tu-yue-shi-huang-huai-he-gong-xu-yang-218708","乾隆南巡图-阅视黄淮河工","徐扬","本卷以“御制恭依皇祖揽黄淮诗韵”为文,描绘乾隆皇帝渡过黄河后,当日和次日视察黄河、淮河、运河和洪泽湖四大水系汇合处险要工程的场景.本幅开卷的宽阔江面,全以细笔勾勒水波,缜密而不失丰富层次,其中江水因含沙量不同,一清一浑、泾渭分明,足称奇观.堤坝之上,皇帝立于华盖之下,心系社稷黎民；\n沿途群臣下跪翘首,感激皇威浩荡.卷前有词臣于敏中题诗：御碑亭畔汇清黄，仰溯涂山疏瀹方。端拱九重遑自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[23,24,25,26,29,28,57,7,932,152,557,199,58,316,34,172,933,196,934,935],"堤坝","旗帜","岸滩","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[97],{"id":940,"slug":941,"title":942,"dynasty":18,"author":943,"museum":944,"description":945,"tags":946,"thumbUrl":948,"material":95,"size":949,"collection":42,"collections":950,"showCount":951,"zanCount":48,"manualWeight":48,"mainColor":49},221418,"dong-xue-shan-shui-tu-juan-yan-wen-gui-221418","冬雪山水图卷","燕文贵","美国弗瑞尔美术馆","景口郭卑天锡父题。长卷绘山连绵起伏，山顶云雾缭绕，山下河水平静，村落树木白雪覆盖，画面静谧空旷。",[23,147,24,25,26,28,92,30,947,484,7,34,112],"冬雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769365f4d6505b4b415e55c2a2bad217.jpg","34.7x354.5厘米",[42,97,79],77,{"id":953,"slug":954,"title":955,"dynasty":850,"author":867,"museum":166,"description":868,"tags":956,"thumbUrl":962,"material":376,"size":377,"collection":860,"collections":963,"showCount":964,"zanCount":563,"manualWeight":48,"mainColor":49},225714,"bank-of-the-seine-may-july-fan-gao-225714","Bank of the Seine (May - July )",[854,870,957,958,959,7,960,34,35,58,874,961,128],"笔触短促","色彩明快","光影表现","河岸","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa5aea6f7e90ef3d990ca0daf88f722.jpg",[860],76,{"id":966,"slug":967,"title":968,"dynasty":106,"author":284,"museum":108,"description":969,"tags":970,"thumbUrl":972,"material":414,"size":973,"collection":97,"collections":974,"showCount":975,"zanCount":48,"manualWeight":48,"mainColor":101},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,270,91,92,173,154,30,698,971,34,35,112,7,37,169],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[97,79],75,{"id":977,"slug":978,"title":979,"dynasty":252,"author":253,"museum":166,"description":980,"tags":981,"thumbUrl":982,"material":376,"size":377,"collection":232,"collections":983,"showCount":984,"zanCount":48,"manualWeight":48,"mainColor":101},288361,"jiang-gan-xue-ji-tu-wang-wei-288361","江干雪霁图","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,147,24,25,26,91,30,259,257,35,7,112,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18c80dfbf2d7b2f44a1ccaf36b3e7de.jpg",[],74,{"id":986,"slug":987,"title":267,"dynasty":209,"author":210,"museum":166,"description":268,"tags":988,"thumbUrl":989,"material":376,"size":377,"collection":232,"collections":990,"showCount":991,"zanCount":48,"manualWeight":48,"mainColor":49},289334,"long-su-jiao-min-tu-dong-yuan-289334",[23,147,24,148,28,92,152,7,34,173,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed712e724d0c3b83b224acb00bda72a0.jpg",[],73,{"id":993,"slug":994,"title":995,"dynasty":123,"author":996,"museum":20,"description":997,"tags":998,"thumbUrl":1002,"material":451,"size":1003,"collection":97,"collections":1004,"showCount":991,"zanCount":563,"manualWeight":48,"mainColor":101},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,25,26,28,29,92,173,153,154,30,999,152,7,485,34,60,61,1000,37,412,1001,131],"桃花","人家","梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[97],{"id":1006,"slug":1007,"title":1008,"dynasty":850,"author":1009,"museum":166,"description":1010,"tags":1011,"thumbUrl":1016,"material":376,"size":377,"collection":860,"collections":1017,"showCount":1018,"zanCount":563,"manualWeight":48,"mainColor":439},225660,"rembrandt-harmensz-van-rijn-070-lun-bo-lang-225660","Rembrandt Harmensz.van Rijn - 070","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。",[854,1012,1013,1014,58,63,7,34,1015,128,199,961,557],"写实","明暗对比","光影","马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae5e59524e7feb1d6ef620dba60f43f.jpg",[860],69,{"id":1020,"slug":1021,"title":1022,"dynasty":123,"author":396,"museum":166,"description":1023,"tags":1024,"thumbUrl":1028,"material":232,"size":232,"collection":232,"collections":1029,"showCount":1018,"zanCount":48,"manualWeight":48,"mainColor":49},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,147,24,25,270,91,92,30,1025,112,7,1026,34,1027,154],"古木","亭子","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":1031,"slug":1032,"title":1033,"dynasty":86,"author":1034,"museum":1035,"description":1036,"tags":1037,"thumbUrl":1040,"material":451,"size":1041,"collection":79,"collections":1042,"showCount":1018,"zanCount":48,"manualWeight":48,"mainColor":101},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","倪瓒","中国国家博物馆","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[23,24,91,148,92,153,173,154,1038,399,542,1039,228,112,169,7],"干笔","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 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of the Seine near Giverny 02, 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- 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,26,28,92,30,112,34,7,1131,172,316,60],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[97,45],63,{"id":1136,"slug":1137,"title":1138,"dynasty":106,"author":284,"museum":634,"description":1139,"tags":1140,"thumbUrl":1141,"material":520,"size":232,"collection":97,"collections":1142,"showCount":1134,"zanCount":48,"manualWeight":48,"mainColor":101},220960,"fang-shu-yao-feng-tu-dong-qi-chang-220960","芳树遥峰图","绘河两岸景色，远处山峰高耸，最高峰中部留白，山顶半悬，实乃绝妙之笔；近处河岸上树木林立，叶已枯槁，杆直修长，与河对岸的山峰遥遥相望。画项端题诗一首：桂树及冬荣，瑶草待春发。惟闻鸾鹤声，寥寥上烟月。",[23,24,25,270,91,92,30,31,447,7,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[97,79],{"id":1144,"slug":1145,"title":1146,"dynasty":772,"author":1147,"museum":1148,"description":1149,"tags":1150,"thumbUrl":1151,"material":232,"size":232,"collection":232,"collections":1152,"showCount":1134,"zanCount":48,"manualWeight":48,"mainColor":101},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","张大千","Indianapolis 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。",[23,24,28,92,270,30,149,34,112,7,37,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":1154,"slug":1155,"title":1156,"dynasty":86,"author":1157,"museum":166,"description":1158,"tags":1159,"thumbUrl":1162,"material":376,"size":377,"collection":232,"collections":1163,"showCount":1164,"zanCount":563,"manualWeight":48,"mainColor":49},287337,"long-zhou-jing-du-tu-juan-wang-zhen-peng-287337","龙舟竞渡图卷","王振鹏","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,147,24,26,57,27,28,30,59,1160,58,7,1161],"龙舟","龙舟竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d38c779987285d7530e29b1984cd1b.jpg",[],61,{"id":1166,"slug":1167,"title":1168,"dynasty":86,"author":1169,"museum":108,"description":1170,"tags":1171,"thumbUrl":1173,"material":40,"size":1174,"collection":232,"collections":1175,"showCount":1164,"zanCount":48,"manualWeight":48,"mainColor":101},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","钱选","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。",[147,24,25,26,28,27,29,30,154,173,153,1172,227,542,149,34,169,730,58,7,37,289,38],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":1177,"slug":1178,"title":1179,"dynasty":850,"author":851,"museum":166,"description":852,"tags":1180,"thumbUrl":1188,"material":376,"size":377,"collection":860,"collections":1189,"showCount":1164,"zanCount":48,"manualWeight":48,"mainColor":49},225898,"argenteuil-late-afternoon-1872-mo-nai-225898","Argenteuil, Late Afternoon, 1872",[855,854,1014,958,1181,7,1182,34,199,1183,1184,1185,961,128,557,316,1186,960,1187],"笔触松散","帆船","烟囱","倒影","傍晚","工厂建筑","余晖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc7885977dc6034e2c69f48a941935d.jpg",[860],{"id":1191,"slug":1192,"title":1193,"dynasty":106,"author":1194,"museum":166,"description":1195,"tags":1196,"thumbUrl":1199,"material":376,"size":377,"collection":232,"collections":1200,"showCount":1201,"zanCount":48,"manualWeight":48,"mainColor":101},237824,"fang-zhang-seng-yao-mei-gu-shan-shui-shan-zhang-hong-237824","仿张僧繇没骨山水扇","张宏","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。",[24,1197,1198,28,386,30,149,34,412,169,7,290,154],"扇面","没骨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8df82dfc9d045a62c3ee52c28183e.jpg",[],60,{"id":1203,"slug":1204,"title":1205,"dynasty":123,"author":1206,"museum":423,"description":1207,"tags":1208,"thumbUrl":1210,"material":1211,"size":1212,"collection":97,"collections":1213,"showCount":1201,"zanCount":48,"manualWeight":48,"mainColor":49},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","山水图卷","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,25,26,91,28,30,92,227,542,7,149,288,35,447,169,1209],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 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滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[24,91,92,270,30,152,1027,449,400,401,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[97],{"id":1235,"slug":1236,"title":1237,"dynasty":123,"author":1238,"museum":166,"description":1239,"tags":1240,"thumbUrl":1242,"material":376,"size":377,"collection":232,"collections":1243,"showCount":1244,"zanCount":563,"manualWeight":48,"mainColor":101},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,147,24,25,1197,28,91,92,30,149,258,34,412,1241,169,7,37],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],59,{"id":1246,"slug":1247,"title":1248,"dynasty":86,"author":1249,"museum":108,"description":1250,"tags":1251,"thumbUrl":1255,"material":1256,"size":1257,"collection":97,"collections":1258,"showCount":1244,"zanCount":563,"manualWeight":48,"mainColor":101},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。",[23,147,24,25,270,91,28,92,30,259,685,34,35,1252,7,1253,112,1254,289],"茅舍","小径","雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","白纸本","151x27.3公分",[97,79],{"id":1260,"slug":1261,"title":576,"dynasty":86,"author":224,"museum":166,"description":1262,"tags":1263,"thumbUrl":1265,"material":376,"size":377,"collection":232,"collections":1266,"showCount":1267,"zanCount":563,"manualWeight":48,"mainColor":49},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。",[23,147,24,26,25,148,28,91,92,30,34,35,1264,230,7,153,154,173],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":1269,"slug":1270,"title":1271,"dynasty":18,"author":515,"museum":166,"description":1272,"tags":1273,"thumbUrl":1277,"material":376,"size":377,"collection":232,"collections":1278,"showCount":1267,"zanCount":48,"manualWeight":48,"mainColor":49},288509,"ceng-ya-yin-si-tu-xia-gui-288509","层崖隐寺图","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。",[24,147,148,91,92,30,1274,1275,149,7,1276],"山崖","古松","隐寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefa0c49568056df7a5e749eaca47808.jpg",[],{"id":1280,"slug":1281,"title":1282,"dynasty":123,"author":1105,"museum":20,"description":1283,"tags":1284,"thumbUrl":1285,"material":40,"size":1286,"collection":97,"collections":1287,"showCount":1288,"zanCount":48,"manualWeight":48,"mainColor":101},236719,"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[24,57,28,29,92,30,59,112,34,7,149,199,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[97,45],57,{"id":1290,"slug":1291,"title":514,"dynasty":18,"author":515,"museum":166,"description":1292,"tags":1293,"thumbUrl":1296,"material":376,"size":377,"collection":232,"collections":1297,"showCount":1298,"zanCount":48,"manualWeight":48,"mainColor":49},288243,"xue-tang-ke-hua-tu-xia-gui-288243","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。",[23,147,24,91,148,259,149,35,257,685,7,92,1294,1295],"冬日","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd807fa2735ecdebe9ea2f7cddcb2e2.jpg",[],56,{"id":1300,"slug":1301,"title":1302,"dynasty":123,"author":706,"museum":423,"description":1303,"tags":1304,"thumbUrl":1309,"material":232,"size":1310,"collection":232,"collections":1311,"showCount":1298,"zanCount":48,"manualWeight":48,"mainColor":49},223357,"fang-dong-yuan-jiang-nan-yan-luan-tu-juan-yi-ming-223357","仿董源江南烟峦图卷","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。\n画面上有山峦复叠、烟树沙川的夏日景致。画面中央山峦起伏连绵，上方水面空阔回转；一道道沙川和坡丘在水上和岸边延伸推展，两人泛舟水上；岸上树木丛生，百草丰茂，其间有牛羊悠闲吃草，有农人从容劳作；一道一道的冈峦，苍苍茫茫由近向远渐渐推展开去，忽明忽暗，层峦叠嶂，极具自然掩映的趣味。",[24,25,26,91,386,92,30,37,34,149,7,1305,1306,1307,1308],"丘陵","岸渚","丛竹","亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff949cfedb91c38ffe9314bf3c1e04eb8.jpg","30x600厘米",[],{"id":1313,"slug":1314,"title":1315,"dynasty":106,"author":1316,"museum":20,"description":1317,"tags":1318,"thumbUrl":1320,"material":451,"size":1321,"collection":44,"collections":1322,"showCount":1298,"zanCount":563,"manualWeight":48,"mainColor":101},219059,"yu-le-tu-zhou-chen-219059","渔乐图","周臣","周臣（生卒年不详），字舜卿，号东村，吴县（今江苏苏州）人。画山水师陈暹（1405－1496年），摹古于宋人李成、郭熙、马远、夏圭，用笔纯熟，所谓“行家”意胜耳。何良俊以为，与戴进（1388－1462年）并驱，则互有所长，亦是院体中一高手。兼工人物，古貌奇姿，绵细萧散，各极意能。 　　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。",[23,24,26,91,29,58,149,228,7,229,151,92,62,1319],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[44],{"id":1324,"slug":1325,"title":1326,"dynasty":123,"author":1327,"museum":108,"description":1328,"tags":1329,"thumbUrl":1330,"material":156,"size":1331,"collection":97,"collections":1332,"showCount":1298,"zanCount":48,"manualWeight":48,"mainColor":101},218319,"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达","董邦达为清代画家，在山水题材上造诣颇深。他具有双重身份，不仅为朝廷命官，而且是一位颇有才气的画家。作为官员的董邦达，一生可谓仕途通达，早年高中进士，身为朝廷命官，平日忙于公务，作画只是董邦达的业余爱好。然而，董邦达具有绘画的天赋，尤其擅长山水画，名噪一时。",[24,91,148,92,386,112,34,35,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[97],{"id":1334,"slug":1335,"title":1336,"dynasty":850,"author":851,"museum":166,"description":852,"tags":1337,"thumbUrl":1342,"material":376,"size":377,"collection":860,"collections":1343,"showCount":1344,"zanCount":48,"manualWeight":48,"mainColor":49},225900,"arm-of-the-seine-near-giverny-1897-mo-nai-225900","Arm of the Seine near Giverny, 1897",[855,854,1014,1338,7,34,557,1184,961,960,272,1339,1340,1341],"色彩晕染","风景画","笔触灵动","色彩融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ef1c853db62f89f884dbd4799f24f40.jpg",[860],55,{"id":1346,"slug":1347,"title":1348,"dynasty":18,"author":240,"museum":20,"description":1349,"tags":1350,"thumbUrl":1352,"material":40,"size":244,"collection":232,"collections":1353,"showCount":1354,"zanCount":48,"manualWeight":48,"mainColor":49},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[147,24,25,26,27,28,29,92,30,31,7,34,172,59,60,61,112,38,93,1351],"人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg",[],54,{"id":1356,"slug":1357,"title":1358,"dynasty":18,"author":706,"museum":166,"description":1359,"tags":1360,"thumbUrl":1364,"material":232,"size":232,"collection":232,"collections":1365,"showCount":1354,"zanCount":48,"manualWeight":48,"mainColor":49},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,26,386,28,29,302,30,58,184,1361,63,59,34,37,933,1362,1363,7,112,68],"龙","侍从","神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],{"id":1367,"slug":1368,"title":1369,"dynasty":86,"author":1370,"museum":831,"description":1371,"tags":1372,"thumbUrl":1374,"material":451,"size":1375,"collection":97,"collections":1376,"showCount":1354,"zanCount":48,"manualWeight":48,"mainColor":101},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","方从义","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,24,25,270,91,92,30,228,7,58,1373,400,151],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[97],{"id":1378,"slug":1379,"title":1380,"dynasty":106,"author":1381,"museum":108,"description":1382,"tags":1383,"thumbUrl":1384,"material":133,"size":1385,"collection":45,"collections":1386,"showCount":1387,"zanCount":48,"manualWeight":48,"mainColor":101},222595,"xi-shan-qiu-se-tu-quan-juan-lan-ying-222595","溪山秋色图全卷","蓝瑛","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。",[23,24,25,26,28,30,92,153,154,34,169,7,1264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d35e8af764e515efb05842ae219d1.jpg","27×183cm",[45],53,{"id":1389,"slug":1390,"title":1391,"dynasty":86,"author":1370,"museum":144,"description":1392,"tags":1393,"thumbUrl":1397,"material":156,"size":1398,"collection":79,"collections":1399,"showCount":1387,"zanCount":563,"manualWeight":48,"mainColor":49},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[24,91,92,30,971,31,34,60,7,37,1394,1395,131,152,1396],"山间","树木丛","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[79],{"id":1401,"slug":1402,"title":1403,"dynasty":106,"author":1404,"museum":108,"description":1405,"tags":1406,"thumbUrl":1409,"material":451,"size":1410,"collection":44,"collections":1411,"showCount":1387,"zanCount":48,"manualWeight":48,"mainColor":49},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,25,29,28,1407,58,63,228,30,112,128,7,154,1362,1408],"宗教","经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[44],{"id":1413,"slug":1414,"title":1415,"dynasty":106,"author":284,"museum":20,"description":1416,"tags":1417,"thumbUrl":1419,"material":559,"size":1420,"collection":754,"collections":1421,"showCount":1422,"zanCount":48,"manualWeight":48,"mainColor":101},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[24,25,270,91,92,147,30,227,228,35,7,33,1418,288],"石头","https:\u002F\u002Foss.chuangqi.store\u002Ft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，局部淡设色",[],{"id":1451,"slug":1452,"title":1453,"dynasty":123,"author":1454,"museum":166,"description":1455,"tags":1456,"thumbUrl":1459,"material":232,"size":232,"collection":232,"collections":1460,"showCount":1440,"zanCount":563,"manualWeight":48,"mainColor":101},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,25,26,91,302,92,30,112,34,172,7,152,638,787,1457,288,1458,93,37,60],"远景","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":1462,"slug":1463,"title":1464,"dynasty":106,"author":284,"museum":144,"description":1465,"tags":1466,"thumbUrl":1467,"material":451,"size":232,"collection":232,"collections":1468,"showCount":1469,"zanCount":48,"manualWeight":48,"mainColor":101},214647,"qiu-xing-ba-jing-tu-ce-10-dong-qi-chang-214647","秋兴八景图册-10","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,348,91,28,153,154,92,30,34,7,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733353bab86339fd091579c32aef95fe.jpg",[],49,{"id":1471,"slug":1472,"title":1473,"dynasty":123,"author":396,"museum":166,"description":1474,"tags":1475,"thumbUrl":1476,"material":232,"size":232,"collection":232,"collections":1477,"showCount":1478,"zanCount":48,"manualWeight":48,"mainColor":101},234168,"yuan-ji-shan-shui-tu-juan-shi-tao-234168","原济山水图卷","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。",[23,24,25,26,91,92,30,31,34,35,7,37,153,173,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815dd148ee14a764573968a252a39549.jpg",[],48,{"id":1480,"slug":1481,"title":1482,"dynasty":772,"author":1483,"museum":1484,"description":1485,"tags":1486,"thumbUrl":1487,"material":1488,"size":232,"collection":232,"collections":1489,"showCount":1478,"zanCount":48,"manualWeight":48,"mainColor":101},220451,"ma-nai-si-he-shang-huang-zhou-220451","马奈斯河上","黄胄","The Chinese University of Hong Kong Library","黄胄于1965年春北京作此画，写赠廖一原妻汪云女士。黄胄曾获多个奖项，其国画重生活气息及民族色彩，所绘毛驴，维妙维肖。",[23,24,91,28,399,58,63,258,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53033b6aa3b54f7bcf0aaec4e4188faf.jpg","Ink and colour on paper",[],{"id":1491,"slug":1492,"title":1493,"dynasty":18,"author":706,"museum":144,"description":1494,"tags":1495,"thumbUrl":1497,"material":114,"size":1498,"collection":97,"collections":1499,"showCount":1478,"zanCount":563,"manualWeight":48,"mainColor":439},219185,"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[23,24,25,26,30,91,92,28,227,34,7,33,199,1496,37,169],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[97],{"id":1501,"slug":1502,"title":806,"dynasty":123,"author":1238,"museum":20,"description":1503,"tags":1504,"thumbUrl":1505,"material":156,"size":1506,"collection":97,"collections":1507,"showCount":1478,"zanCount":48,"manualWeight":48,"mainColor":101},218511,"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[23,24,25,30,91,92,270,288,112,7,60,35,34,169,810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[97],{"id":1509,"slug":1510,"title":1511,"dynasty":123,"author":1512,"museum":166,"description":1513,"tags":1514,"thumbUrl":1515,"material":232,"size":232,"collection":232,"collections":1516,"showCount":1517,"zanCount":48,"manualWeight":48,"mainColor":101},239211,"fang-fu-chun-shan-ju-tu-juan-gao-shu-cheng-239211","仿富春山居图卷","高树程","此作用干笔淡墨追摹原作意趣，以披麻皴晕染山峦，丘壑连绵起伏，层层铺展。汀渚萦回于烟波之间，林木错落苍秀，将富春山水的空濛温润缓缓铺陈。\n\n笔墨松灵温润，萧散简远，既复刻了原作的淡远疏旷，又融入自身静穆雅致的笔意，不刻意摹形，更重追摹那份江南山水的悠然意趣，咫尺长卷见千里江山之态，尽显文人山水平和疏朗的意境。",[23,24,25,26,91,386,92,30,34,149,258,152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcbdf55fbaf80a9674d7aee012cfa74.jpg",[],47,{"id":1519,"slug":1520,"title":1521,"dynasty":123,"author":1522,"museum":20,"description":1523,"tags":1524,"thumbUrl":1526,"material":95,"size":232,"collection":135,"collections":1527,"showCount":1517,"zanCount":48,"manualWeight":48,"mainColor":101},234108,"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","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。",[24,25,26,28,30,7,316,637,1525,34,112,154,153,92],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[135,97,45],{"id":1529,"slug":1530,"title":433,"dynasty":18,"author":1531,"museum":166,"description":1532,"tags":1533,"thumbUrl":1534,"material":232,"size":232,"collection":232,"collections":1535,"showCount":1517,"zanCount":563,"manualWeight":48,"mainColor":439},231022,"xia-shan-tu-qu-ding-231022","屈鼎","此作以全景铺展夏景山水，层峦叠嶂间烟岚轻萦，将盛夏山野的湿润苍翠晕染开来。山脚林木蓊郁繁茂，涧水穿林漱石，奔涌有声；江面波平水阔，帆影悠悠漾开水乡清宁。\n笔墨兼南北之妙，山石以硬朗勾勒配浅淡皴擦，既塑出雄奇山势，又以水墨晕染衬出山岚水汽的空濛柔润。整体意境兼具山野深幽与江天开阔，将盛夏山林的蓬勃生机与静谧空寂相融，尽显山水间的诗意野趣，藏着宋画写实又写意的隽永意韵。",[23,147,24,25,26,91,28,30,31,34,7,149,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923d6bb1796e097af3fbb0e3372b8990.jpg",[],{"id":1537,"slug":1538,"title":1539,"dynasty":106,"author":284,"museum":108,"description":1540,"tags":1541,"thumbUrl":1542,"material":1543,"size":1544,"collection":97,"collections":1545,"showCount":1517,"zanCount":48,"manualWeight":48,"mainColor":49},220946,"yu-shan-yu-ji-zhou-dong-qi-chang-220946","虞山雨霁轴","幅中以長披麻皴作山石，演繹黃公望如北京故宮所藏〈天池石壁〉一系風格。前景坡岸茅屋兩間，後有小坡圈圍水域，自成一區。\n中景巨石頂上陡斜平臺，數株佳樹展列，與其後堆疊向上的遠山，連成一氣，若有擎天之勢。畫中平臺所敷色料，似因年久變色，原色應較青綠。 此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,24,25,270,91,28,92,30,34,112,7,35,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","绢本浅设色","12×48.7厘米",[97,45],{"id":1547,"slug":1548,"title":1549,"dynasty":772,"author":773,"museum":1550,"description":1551,"tags":1552,"thumbUrl":1554,"material":232,"size":232,"collection":232,"collections":1555,"showCount":1517,"zanCount":48,"manualWeight":48,"mainColor":101},220581,"shan-hu-shui-qing-qi-huang-bin-hong-220581","山湖水清气","Hong 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。",[23,24,91,28,92,30,34,7,149,1553,151],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b60bc42a4857c41184dcc898aecd8d.jpg",[],{"id":1557,"slug":1558,"title":1559,"dynasty":106,"author":1381,"museum":1560,"description":1561,"tags":1562,"thumbUrl":1565,"material":40,"size":1566,"collection":232,"collections":1567,"showCount":1568,"zanCount":563,"manualWeight":48,"mainColor":49},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。",[23,24,270,30,92,28,227,542,149,34,59,112,7,1563,1564],"秋树","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],46,{"id":1570,"slug":1571,"title":1572,"dynasty":123,"author":1573,"museum":20,"description":1574,"tags":1575,"thumbUrl":1576,"material":451,"size":1577,"collection":97,"collections":1578,"showCount":1568,"zanCount":48,"manualWeight":48,"mainColor":101},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","吴历","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。",[23,147,24,25,26,91,92,30,34,37,7,149,169,639,38,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[97,45],{"id":1580,"slug":1581,"title":1582,"dynasty":18,"author":1583,"museum":108,"description":1584,"tags":1585,"thumbUrl":1591,"material":1592,"size":1593,"collection":232,"collections":1594,"showCount":1595,"zanCount":563,"manualWeight":48,"mainColor":49},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","宋人","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[23,1586,270,28,29,58,63,1587,1588,30,1589,7,34,1590,112],"缂绣","羊","梅花","祥云","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","织绣","349x95.8",[],45,{"id":1597,"slug":1598,"title":1599,"dynasty":18,"author":726,"museum":166,"description":1600,"tags":1601,"thumbUrl":1603,"material":232,"size":232,"collection":232,"collections":1604,"showCount":1605,"zanCount":563,"manualWeight":48,"mainColor":49},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”。",[23,24,25,26,29,92,58,34,60,61,112,199,63,149,1602,288,257,7,934],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],44,{"id":1607,"slug":1608,"title":1609,"dynasty":106,"author":1316,"museum":1228,"description":1610,"tags":1611,"thumbUrl":1613,"material":28,"size":1614,"collection":97,"collections":1615,"showCount":1616,"zanCount":48,"manualWeight":48,"mainColor":49},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴","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。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，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。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,25,270,91,28,29,92,30,58,449,257,35,7,1612,1253,154],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[97,79],43,{"id":1618,"slug":1619,"title":1620,"dynasty":106,"author":1621,"museum":166,"description":1622,"tags":1623,"thumbUrl":1624,"material":232,"size":232,"collection":232,"collections":1625,"showCount":1626,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,25,26,91,28,92,386,30,31,34,35,7,149,258,60,61,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],42,{"id":1628,"slug":1629,"title":1630,"dynasty":850,"author":851,"museum":166,"description":852,"tags":1631,"thumbUrl":1637,"material":376,"size":377,"collection":860,"collections":1638,"showCount":1639,"zanCount":48,"manualWeight":48,"mainColor":49},226041,"sunset-on-the-seine-winter-effect-1880-mo-nai-226041","Sunset on the Seine, Winter Effect, 1880",[855,854,1632,7,874,33,257,1093,624,1294,961,1073,34,1633,1634,1340,1338,1635,38,1636],"夕阳","水域","光影捕捉","冬日景象","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3fb37de0bc5ea5233835f6f34ef48.jpg",[860],40,{"id":1641,"slug":1642,"title":1643,"dynasty":106,"author":1404,"museum":423,"description":1644,"tags":1645,"thumbUrl":1646,"material":451,"size":232,"collection":97,"collections":1647,"showCount":1639,"zanCount":563,"manualWeight":48,"mainColor":101},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[24,28,29,30,58,149,34,112,7,92,270,173,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[97],{"id":1649,"slug":1650,"title":1651,"dynasty":106,"author":1652,"museum":166,"description":1653,"tags":1654,"thumbUrl":1658,"material":232,"size":232,"collection":97,"collections":1659,"showCount":1660,"zanCount":48,"manualWeight":48,"mainColor":101},235817,"shan-shui-ce-li-liu-fang-235817","山水册","李流芳","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[24,25,348,91,28,92,30,34,112,35,7,1655,1656,1657,289,271,557],"平远","淡彩","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[97,135],39,{"id":1662,"slug":1663,"title":1664,"dynasty":18,"author":1665,"museum":166,"description":1666,"tags":1667,"thumbUrl":1668,"material":232,"size":232,"collection":232,"collections":1669,"showCount":1660,"zanCount":48,"manualWeight":48,"mainColor":49},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?",[23,24,25,26,91,92,30,31,34,412,7,149,258,257,169,170,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":1671,"slug":1672,"title":1673,"dynasty":106,"author":706,"museum":20,"description":1674,"tags":1675,"thumbUrl":1680,"material":40,"size":1681,"collection":232,"collections":1682,"showCount":1660,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,25,26,28,27,29,30,822,484,7,1676,34,1677,1678,38,1679],"城池","路径","聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":1684,"slug":1685,"title":1686,"dynasty":850,"author":1687,"museum":166,"description":1688,"tags":1689,"thumbUrl":1690,"material":376,"size":377,"collection":97,"collections":1691,"showCount":1692,"zanCount":48,"manualWeight":48,"mainColor":49},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 四季山水图（冬）","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。",[23,24,148,270,92,28,30,112,288,257,35,686,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[97],38,{"id":1694,"slug":1695,"title":1696,"dynasty":123,"author":1697,"museum":1698,"description":1699,"tags":1700,"thumbUrl":1702,"material":1703,"size":1704,"collection":97,"collections":1705,"showCount":1692,"zanCount":48,"manualWeight":48,"mainColor":101},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","美国克利夫兰艺术博物馆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[23,24,26,91,92,148,1701,34,112,7,35,1253,58,37,169,170,289],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","纸本 设色","29.5x280cm",[97,79],{"id":1707,"slug":1708,"title":1709,"dynasty":123,"author":1710,"museum":1711,"description":1712,"tags":1713,"thumbUrl":1714,"material":1715,"size":1716,"collection":97,"collections":1717,"showCount":1692,"zanCount":563,"manualWeight":48,"mainColor":232},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。",[24,25,26,28,30,92,152,7,149,34,93,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6aa9dc2fa40177d86a07917e44bf59.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[97],{"id":1719,"slug":1720,"title":1721,"dynasty":106,"author":1316,"museum":20,"description":1722,"tags":1723,"thumbUrl":1724,"material":40,"size":1725,"collection":232,"collections":1726,"showCount":1727,"zanCount":48,"manualWeight":48,"mainColor":101},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","春山游骑图轴","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,25,270,91,92,30,60,61,63,58,34,112,35,288,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],37,{"id":1729,"slug":1730,"title":1731,"dynasty":850,"author":851,"museum":166,"description":852,"tags":1732,"thumbUrl":1742,"material":376,"size":377,"collection":860,"collections":1743,"showCount":1727,"zanCount":48,"manualWeight":48,"mainColor":101},225905,"blue-house-in-the-outskirts-of-giverny-mo-nai-225905","Blue House in the Outskirts of Giverny",[855,1733,1734,1338,1735,544,34,169,7,961,128,1736,1737,1738,1739,1740,1741],"点彩","外光写生","蓝色房屋","乡村","枯枝","弯曲河流","朦胧山峦","绿色田野","淡色天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3294145284cb1d8c7332d4ea315245.jpg",[860],{"id":1745,"slug":1746,"title":1747,"dynasty":850,"author":867,"museum":166,"description":868,"tags":1748,"thumbUrl":1750,"material":376,"size":377,"collection":860,"collections":1751,"showCount":1727,"zanCount":48,"manualWeight":48,"mainColor":49},225734,"de-aflader-in-arles-fan-gao-225734","De aflader in Arles",[854,870,1632,7,33,58,1749],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc05bc40c64fbdae3b6f88794c13f1fd.jpg",[860],{"id":1753,"slug":1754,"title":1755,"dynasty":18,"author":1756,"museum":166,"description":1757,"tags":1758,"thumbUrl":1759,"material":376,"size":377,"collection":232,"collections":1760,"showCount":1761,"zanCount":48,"manualWeight":48,"mainColor":49},288735,"xiao-xiang-ba-jing-tu-juan-wu-wang-hong-288735","潇湘八景图卷五","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。",[147,24,25,26,91,92,30,7,112,34,1131,1308,169,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],36,{"id":1763,"slug":1764,"title":1765,"dynasty":86,"author":1766,"museum":166,"description":1767,"tags":1768,"thumbUrl":1769,"material":414,"size":1770,"collection":232,"collections":1771,"showCount":1761,"zanCount":563,"manualWeight":48,"mainColor":101},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","赵原","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,147,24,25,26,386,91,92,30,227,37,61,34,7,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":1773,"slug":1774,"title":1775,"dynasty":850,"author":851,"museum":166,"description":852,"tags":1776,"thumbUrl":1785,"material":376,"size":377,"collection":860,"collections":1786,"showCount":1761,"zanCount":563,"manualWeight":48,"mainColor":49},225930,"flowers-at-vetheuil-1880-mo-nai-225930","Flowers at Vetheuil, 1880",[855,854,1014,1777,1778,1779,1780,1781,34,7,557,35,1457,272,1782,1783,1784],"色彩丰富","笔触奔放","花朵","花丛","植物","户外","绿植","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d1346f087a032be70d9ec8d35c5427.jpg",[860],{"id":1788,"slug":1789,"title":1790,"dynasty":18,"author":515,"museum":166,"description":1272,"tags":1791,"thumbUrl":1792,"material":232,"size":232,"collection":232,"collections":1793,"showCount":1794,"zanCount":563,"manualWeight":48,"mainColor":49},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[147,24,25,26,91,92,30,31,7,34,149,33,637,447,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],35,{"id":1796,"slug":1797,"title":1798,"dynasty":123,"author":1799,"museum":108,"description":1800,"tags":1801,"thumbUrl":1802,"material":133,"size":1803,"collection":97,"collections":1804,"showCount":1794,"zanCount":11,"manualWeight":48,"mainColor":49},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","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。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。”",[23,24,25,270,28,30,152,37,34,447,7,149,59,60,61,485,92,822,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[97,45],{"id":1806,"slug":1807,"title":1808,"dynasty":86,"author":224,"museum":108,"description":1809,"tags":1810,"thumbUrl":1814,"material":1256,"size":1815,"collection":97,"collections":1816,"showCount":1794,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,26,91,28,29,92,173,153,154,30,1811,230,7,34,35,93,638,810,1812,1813,1209],"孤山","平野","远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[97,45],{"id":1818,"slug":1819,"title":1820,"dynasty":86,"author":1821,"museum":831,"description":1822,"tags":1823,"thumbUrl":1824,"material":156,"size":232,"collection":97,"collections":1825,"showCount":1794,"zanCount":48,"manualWeight":48,"mainColor":101},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","曹知白","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[23,24,25,26,91,30,92,34,401,7,169,35,154,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[97],{"id":1827,"slug":1828,"title":1829,"dynasty":86,"author":1370,"museum":1830,"description":1831,"tags":1832,"thumbUrl":1836,"material":156,"size":1837,"collection":97,"collections":1838,"showCount":1794,"zanCount":563,"manualWeight":48,"mainColor":101},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图","费城艺术博物馆","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,25,26,91,92,173,153,30,152,37,34,7,60,172,447,38,131,169,787,1833,399,1834,183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这幅具有纪念意义的地图生动地说明了控制黄河航道的复杂性及其对流域内众多城镇的潜在影响。 该地图绘制于康熙皇帝（1662-1722 年在位）聘请耶稣会传教士团队对其帝国进行全面调查的时期，反映了引入欧洲技术之前本土地图制作的最高水平。 事实上，该地图的吸引力不在于其制图准确性，而在于其对地形特征的图像处理。 展开卷轴，就是去体验从东海逆流而上到龙门急流的戏码。",[23,24,26,28,27,29,30,7,152,1679,1845],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72559ed9e9aa861115d474a474464bb0.jpg","78 x 1285 厘米",[],34,{"id":1851,"slug":1852,"title":1853,"dynasty":106,"author":1854,"museum":108,"description":1855,"tags":1856,"thumbUrl":1857,"material":114,"size":1858,"collection":45,"collections":1859,"showCount":1849,"zanCount":563,"manualWeight":48,"mainColor":101},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,25,30,29,28,92,154,227,256,288,257,35,7,60,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[45],{"id":1861,"slug":1862,"title":1863,"dynasty":123,"author":481,"museum":345,"description":1864,"tags":1865,"thumbUrl":1866,"material":451,"size":232,"collection":232,"collections":1867,"showCount":1849,"zanCount":48,"manualWeight":48,"mainColor":101},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1","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。",[24,25,348,91,92,610,30,34,412,1418,7,169,787,257,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg",[],{"id":1869,"slug":1870,"title":1871,"dynasty":18,"author":1872,"museum":166,"description":1873,"tags":1874,"thumbUrl":1876,"material":232,"size":232,"collection":232,"collections":1877,"showCount":1878,"zanCount":48,"manualWeight":48,"mainColor":49},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页","李唐","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）。",[23,24,91,28,92,1875,30,1131,112,34,401,7,169,1209,33],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],33,{"id":1880,"slug":1881,"title":1882,"dynasty":123,"author":1883,"museum":20,"description":1884,"tags":1885,"thumbUrl":1886,"material":559,"size":1887,"collection":79,"collections":1888,"showCount":1878,"zanCount":48,"manualWeight":48,"mainColor":49},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","程正揆","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,25,26,91,30,92,112,34,7,60,35,169,810,1131,461,152,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[79],{"id":1890,"slug":1891,"title":1892,"dynasty":106,"author":1893,"museum":108,"description":1894,"tags":1895,"thumbUrl":1896,"material":114,"size":1897,"collection":97,"collections":1898,"showCount":1878,"zanCount":48,"manualWeight":48,"mainColor":49},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","王谔","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,24,148,28,29,57,227,256,34,59,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[97],{"id":1900,"slug":1901,"title":1902,"dynasty":106,"author":706,"museum":1711,"description":1903,"tags":1904,"thumbUrl":1905,"material":114,"size":232,"collection":135,"collections":1906,"showCount":1878,"zanCount":563,"manualWeight":48,"mainColor":49},219119,"bai-niu-tu-yi-ming-219119","百牛图","百牛散于郊野，姿态万千：或缓步啮草，或扬蹄奔跃，或抵角相戏，或卧地休憩。稚童身影错落其间，或骑牛背悠然吹笛，或牵绳引犊徐行，或蹲踞石畔观牛群嬉戏。林木疏朗，溪流缓绕，草地茵茵，一派生机盎然的田园牧歌景象。整幅画作笔墨细腻，牛的憨态与童的天真相映成趣，尽显自然之趣与生活之美，令人仿佛置身于宁静悠远的郊野之中，心随牛群漫步，意伴稚童欢嬉，沉醉于这份恬淡自在的烟火气里。",[23,24,26,28,29,64,58,228,128,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930c8aa569d3e32ea734c96bb3a9529f.jpg",[135,97],{"id":1908,"slug":1909,"title":1910,"dynasty":123,"author":587,"museum":20,"description":1911,"tags":1912,"thumbUrl":1913,"material":507,"size":232,"collection":232,"collections":1914,"showCount":1915,"zanCount":48,"manualWeight":48,"mainColor":101},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","西湖图卷","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,26,91,92,30,152,32,7,34,316,172,59,60,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],32,{"id":1917,"slug":1918,"title":1919,"dynasty":123,"author":1920,"museum":607,"description":1921,"tags":1922,"thumbUrl":1923,"material":95,"size":1924,"collection":97,"collections":1925,"showCount":1915,"zanCount":48,"manualWeight":48,"mainColor":49},224334,"tang-jie-yuan-shi-yi-tu-yang-jin-224334","唐解元诗意图","杨晋","本幅平远构图，描绘了一幅江南山水的诗意画。画中农村景物写意，人物写真，花鸟草虫，夕阳芳草意境深远，远山起伏，湖光粼粼；山坡下竹篱茅舍；柳岸边微风摇曳，小舟上渔民捕鱼，乐而忘返；用笔以淡笔渴墨勾轮廓，稍作皴染；树叶以夹叶法绘制，虚实相间，自然天成。\n纵观全画是一幅恬静雅致、祥和安乐的江南水乡生活的再现，此为其难得佳作。",[23,24,26,28,29,92,30,7,33,34,35,60,169,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb384a17571125cd89af94faa6e32aa5.jpg","35X195厘米",[97,45],{"id":1927,"slug":1928,"title":1929,"dynasty":106,"author":1930,"museum":831,"description":1931,"tags":1932,"thumbUrl":1933,"material":95,"size":1934,"collection":232,"collections":1935,"showCount":1915,"zanCount":48,"manualWeight":48,"mainColor":101},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","谢时臣","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。",[23,24,25,26,91,28,92,153,173,154,30,149,34,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 75.5",[],{"id":1937,"slug":1938,"title":1939,"dynasty":123,"author":1940,"museum":166,"description":1941,"tags":1942,"thumbUrl":1943,"material":232,"size":232,"collection":45,"collections":1944,"showCount":1945,"zanCount":48,"manualWeight":48,"mainColor":101},239380,"hong-wu-da-yu-zhi-shui-tu-juan-hong-wu-239380","弘旿大禹治水图卷","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。",[23,24,25,26,28,30,58,34,258,7,152,37,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],31,{"id":1947,"slug":1948,"title":1949,"dynasty":123,"author":1105,"museum":20,"description":1950,"tags":1951,"thumbUrl":1952,"material":40,"size":1953,"collection":232,"collections":1954,"showCount":1945,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “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。",[23,147,24,25,30,57,28,29,59,900,34,184,7,37,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg","纵57cm，横66.1cm",[],{"id":1956,"slug":1957,"title":1958,"dynasty":123,"author":1959,"museum":345,"description":1960,"tags":1961,"thumbUrl":1962,"material":114,"size":1963,"collection":97,"collections":1964,"showCount":1945,"zanCount":563,"manualWeight":48,"mainColor":49},217881,"xue-jing-shan-shui-tu-li-yin-217881","雪景山水图","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,28,270,30,259,257,7,112,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46c723cdf9a5cd63c6d3ab518013086.jpg","155.8x71.2cm",[97],{"id":1966,"slug":1967,"title":1968,"dynasty":106,"author":1969,"museum":831,"description":1970,"tags":1971,"thumbUrl":1972,"material":232,"size":232,"collection":232,"collections":1973,"showCount":1974,"zanCount":48,"manualWeight":48,"mainColor":101},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","陆治","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。",[23,24,25,26,28,92,153,154,30,34,7,149,169,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],30,{"id":1976,"slug":1977,"title":1205,"dynasty":106,"author":1978,"museum":1979,"description":1980,"tags":1981,"thumbUrl":1982,"material":362,"size":1983,"collection":232,"collections":1984,"showCount":1985,"zanCount":48,"manualWeight":48,"mainColor":101},234181,"shan-shui-tu-juan-zhang-fu-234181","张復","烟台市博物馆","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。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,24,25,26,91,92,30,31,7,61,34,35,60,258,400,822,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],29,{"id":1987,"slug":1988,"title":1989,"dynasty":123,"author":1990,"museum":166,"description":1991,"tags":1992,"thumbUrl":1994,"material":232,"size":232,"collection":232,"collections":1995,"showCount":1985,"zanCount":48,"manualWeight":48,"mainColor":49},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","袁江","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[23,24,57,28,29,30,59,34,112,37,195,1993,316,7],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":1997,"slug":1998,"title":1999,"dynasty":123,"author":2000,"museum":166,"description":2001,"tags":2002,"thumbUrl":2006,"material":232,"size":232,"collection":97,"collections":2007,"showCount":2008,"zanCount":563,"manualWeight":48,"mainColor":101},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”。",[24,26,148,28,92,30,7,149,93,271,2003,34,1131,58,2004,2005],"农田","田园生活","农桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7ae20c02be229020dc6a8b099325b6.jpg",[97,45],28,{"id":2010,"slug":2011,"title":2012,"dynasty":106,"author":2013,"museum":166,"description":2014,"tags":2015,"thumbUrl":2018,"material":232,"size":232,"collection":232,"collections":2019,"showCount":2008,"zanCount":48,"manualWeight":48,"mainColor":101},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","李士达","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,25,270,28,29,92,58,2016,60,61,257,35,195,71,2017,112,34,7,199,471],"村舍","孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":2021,"slug":2022,"title":2023,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2024,"thumbUrl":2026,"material":376,"size":377,"collection":860,"collections":2027,"showCount":2008,"zanCount":48,"manualWeight":48,"mainColor":101},225987,"morning-on-the-seine-1897-mo-nai-225987","Morning on the Seine, 1897",[854,855,2025,1070,1071,7,557,961,1093,857,34],"外光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dca538a238ed7469597eb0610fd3e9f.jpg",[860],{"id":2029,"slug":2030,"title":2031,"dynasty":850,"author":867,"museum":166,"description":868,"tags":2032,"thumbUrl":2043,"material":376,"size":377,"collection":860,"collections":2044,"showCount":2008,"zanCount":563,"manualWeight":48,"mainColor":101},225727,"by-the-seine-1887-fan-gao-225727","By the Seine 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托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[23,24,25,26,91,92,30,34,447,7,611,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":2115,"slug":2116,"title":2117,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2118,"thumbUrl":2119,"material":376,"size":377,"collection":860,"collections":2120,"showCount":2092,"zanCount":48,"manualWeight":48,"mainColor":2121},225920,"dario-palace-venice-1908-mo-nai-225920","Dario Palace, Venice, 1908",[855,854,111,7,316,557,1014,1070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ce41eef3a0c7b260a50254889ff61a.jpg",[860],"0D904F",{"id":2123,"slug":2124,"title":2125,"dynasty":123,"author":1327,"museum":108,"description":2126,"tags":2127,"thumbUrl":2128,"material":2129,"size":2130,"collection":97,"collections":2131,"showCount":2092,"zanCount":48,"manualWeight":48,"mainColor":49},223117,"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴","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。",[23,24,25,147,270,148,92,28,227,542,1446,1632,34,447,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[97,79],{"id":2133,"slug":2134,"title":2135,"dynasty":123,"author":481,"museum":20,"description":2136,"tags":2137,"thumbUrl":2138,"material":2139,"size":2140,"collection":97,"collections":2141,"showCount":2142,"zanCount":48,"manualWeight":48,"mainColor":535},236363,"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n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。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，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，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 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。",[24,25,270,91,92,30,34,112,7,169,170,1677,152,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纸本 ，淡设色","纵63.5cm，横36.3cm",[97,79,754],25,{"id":2144,"slug":2145,"title":1651,"dynasty":106,"author":2146,"museum":20,"description":2147,"tags":2148,"thumbUrl":2149,"material":2150,"size":2151,"collection":232,"collections":2152,"showCount":2142,"zanCount":48,"manualWeight":48,"mainColor":101},236325,"shan-shui-ce-song-xu-236325","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,91,30,348,1131,149,374,1657,7,112,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6942f9cce57790f797b1cb0ff08a6128.jpg","纸本 ，设色","纵31cm，横42cm",[],{"id":2154,"slug":2155,"title":2156,"dynasty":106,"author":2157,"museum":20,"description":2158,"tags":2159,"thumbUrl":2160,"material":362,"size":2161,"collection":232,"collections":2162,"showCount":2142,"zanCount":48,"manualWeight":48,"mainColor":101},233967,"guan-shan-xing-lv-tu-zhou-dai-jin-233967","关山行旅图轴","戴进","本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。\n作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[24,147,270,91,92,30,288,447,7,35,152,34,1564,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac0a0c15fc8e857f3e1f36e5c19ea41.jpg","纵61.8厘米，横29.7厘米",[],{"id":2164,"slug":2165,"title":2166,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2167,"thumbUrl":2172,"material":376,"size":377,"collection":860,"collections":2173,"showCount":2142,"zanCount":48,"manualWeight":48,"mainColor":101},226100,"the-promenade-at-argenteuil-1872-mo-nai-226100","The Promenade at Argenteuil, 1872",[854,855,7,1182,2168,34,35,2169,2170,2171],"林荫道","晴天","郊外","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52599d7943ec530c2bf4ba8472aa1f49.jpg",[860],{"id":2175,"slug":2176,"title":2177,"dynasty":123,"author":706,"museum":20,"description":2178,"tags":2179,"thumbUrl":2180,"material":2181,"size":2182,"collection":232,"collections":2183,"showCount":2142,"zanCount":48,"manualWeight":48,"mainColor":101},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,28,26,92,30,31,34,199,316,7,37,1525,401,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","彩绘","纵32厘米，横210厘米",[],{"id":2185,"slug":2186,"title":2187,"dynasty":106,"author":2188,"museum":423,"description":2189,"tags":2190,"thumbUrl":2191,"material":1256,"size":2192,"collection":97,"collections":2193,"showCount":2142,"zanCount":48,"manualWeight":48,"mainColor":101},222533,"shan-shui-zhou-wang-duo-222533","山水轴","王铎","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[23,24,25,270,91,30,449,35,112,34,7,399,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 厘米",[97,79],{"id":2195,"slug":2196,"title":2197,"dynasty":106,"author":2198,"museum":20,"description":2199,"tags":2200,"thumbUrl":2201,"material":156,"size":2202,"collection":97,"collections":2203,"showCount":2142,"zanCount":11,"manualWeight":48,"mainColor":101},220397,"chen-zong-yuan-hong-ya-shan-fang-tu-juan-chen-zong-yuan-220397","陈宗渊洪崖山房图卷","陈宗渊","《洪崖山房图》是陈宗渊唯一的传世作品，为其受友人胡俨之请按实景创作的。胡俨怀着还乡归隐之情，在家乡筑室名“洪崖山房”，以慰归思。他曾请王绂为其作图，但王绂当时因病重便作诗推辞，胡俨遂转请其弟子陈宗渊创作了此图。胡俨十分珍爱此作，多次在图后题识。图中抒写了胡俨身居庙堂、心怀归思的志向和情怀，同时也反映了在明初严酷的政治环境中，文人士大夫思隐的心态。\u2028　　画面上山峦起伏，江面开阔，景色壮观，反映出江西一带的风貌特征。所画人物占画幅比例很小，虽只寥寥数笔，须眉皆无，但姿态休闲生动，或展卷堂上，或携琴访友，巧妙地突出了人物在画中的地位，增添了恬静安逸的情致，表现出文人优雅的生活环境和超凡出尘的意趣。画中的山石用荷叶皴与披麻皴表现，线条多用中锋，自上而下拖长，错落纷披，转折灵动。陈宗渊的画法继承元代绘画风格，近似王绂，意境清远，笔墨苍秀，其作品对了解吴门前期绘画的传承关系具有重要的作用。",[23,24,25,26,91,28,30,29,92,153,173,154,152,7,35,34,60,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f656c3500b27f604686ec7a544e47c9.jpg","纵27.1厘米，横106.2厘米",[97,79],{"id":2205,"slug":2206,"title":2207,"dynasty":123,"author":2000,"museum":166,"description":2001,"tags":2208,"thumbUrl":2210,"material":232,"size":232,"collection":79,"collections":2211,"showCount":2212,"zanCount":48,"manualWeight":48,"mainColor":101},238319,"yan-yu-lou-tu-zhou-dong-gao-238319","烟雨楼图轴",[24,270,91,30,59,34,7,2209,173,154],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae96fa2834c3c09ba001a9aaec286bb.jpg",[79,754],24,{"id":2214,"slug":2215,"title":2216,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2217,"thumbUrl":2222,"material":376,"size":377,"collection":860,"collections":2223,"showCount":2212,"zanCount":48,"manualWeight":48,"mainColor":49},226093,"the-port-at-argenteuil-1872-mo-nai-226093","The Port at Argenteuil, 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on the Seine, near Giverny, 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按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,25,26,27,28,29,30,58,63,59,34,112,7,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":2301,"slug":2302,"title":2303,"dynasty":106,"author":2304,"museum":423,"description":2305,"tags":2306,"thumbUrl":2307,"material":520,"size":2308,"collection":97,"collections":2309,"showCount":100,"zanCount":48,"manualWeight":48,"mainColor":101},222230,"heng-tang-yu-xie-tu-juan-wen-bo-ren-222230","横塘雨歇图卷","文伯仁","全卷画层峦叠谳，千岩万壑，岗岭蜿蜒，龙脉起伏不断，峦间飞瀑如练，苍松依聚溪畔坡石。野色桥边，树石掩映，露出茅屋草亭。人物幽闲，或俯临秋水，或曳杖渡桥，或对坐观瀑，颇得游山观水之乐。署“嘉靖戊子冬日，五峰山人文伯仁。”",[23,24,25,26,28,30,92,31,1131,34,7,447,172,58,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78539aa02e216d5b6930b22af81d1ea0.jpg","18x123cm",[97,45],{"id":2311,"slug":2312,"title":2313,"dynasty":106,"author":2304,"museum":2314,"description":2315,"tags":2316,"thumbUrl":2317,"material":388,"size":2318,"collection":232,"collections":2319,"showCount":100,"zanCount":48,"manualWeight":48,"mainColor":101},222226,"si-wan-shan-shui-tu-4-wan-shan-fei-xue-wen-bo-ren-222226","四万山水图4-万山飞雪","京都国立博物馆","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。",[23,24,148,147,25,270,91,92,29,227,256,34,7,447,401,257,259,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg","48X123cm",[],{"id":2321,"slug":2322,"title":2323,"dynasty":18,"author":943,"museum":166,"description":2324,"tags":2325,"thumbUrl":2326,"material":376,"size":377,"collection":232,"collections":2327,"showCount":2328,"zanCount":48,"manualWeight":48,"mainColor":49},288505,"jiang-shan-lou-guan-tu-yan-wen-gui-288505","江山楼观图","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。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，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,147,24,26,91,30,92,59,112,1657,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55247d7d229304874dd28046e365247f.jpg",[],21,{"id":2330,"slug":2331,"title":2332,"dynasty":850,"author":706,"museum":166,"description":2333,"tags":2334,"thumbUrl":2338,"material":376,"size":377,"collection":232,"collections":2339,"showCount":2328,"zanCount":48,"manualWeight":48,"mainColor":49},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[23,147,24,25,2335,91,28,2336,92,30,58,199,34,447,7,2337],"屏风","金碧","开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":2341,"slug":2342,"title":2343,"dynasty":18,"author":706,"museum":108,"description":2344,"tags":2345,"thumbUrl":2347,"material":95,"size":2348,"collection":232,"collections":2349,"showCount":2328,"zanCount":563,"manualWeight":48,"mainColor":49},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",[24,148,28,92,112,34,7,149,2346,412,169,810,316,557],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","纵114cm,横57cm",[],{"id":2351,"slug":2352,"title":2353,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2354,"thumbUrl":2357,"material":376,"size":377,"collection":860,"collections":2358,"showCount":2328,"zanCount":48,"manualWeight":48,"mainColor":101},226115,"the-seine-at-bougival-in-the-evening-1870-mo-nai-226115","The Seine at Bougival in the Evening, 1870",[854,855,1634,7,2355,33,199,34,128,874,2356,1338,1340],"晚霞","黄昏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce56a972635315838112f6d9f26c2f8d.jpg",[860],{"id":2360,"slug":2361,"title":2362,"dynasty":86,"author":1249,"museum":20,"description":2363,"tags":2364,"thumbUrl":2366,"material":414,"size":2367,"collection":232,"collections":2368,"showCount":2328,"zanCount":48,"manualWeight":48,"mainColor":49},221751,"san-xia-qu-tang-tu-ye-sheng-mao-221751","三峡瞿塘图页","瞿塘峡的名胜古迹，多而又集中，游览者称便。此画为元代画家盛懋所作，其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。",[23,24,25,348,30,91,28,149,2365,34,112,37,169,7,92],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":2370,"slug":2371,"title":2372,"dynasty":106,"author":2373,"museum":108,"description":2374,"tags":2375,"thumbUrl":2376,"material":414,"size":2377,"collection":97,"collections":2378,"showCount":2328,"zanCount":48,"manualWeight":48,"mainColor":101},219466,"shan-cai-ding-li-tu-xiang-yuan-bian-219466","善才顶礼图","项元汴","项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。",[24,25,270,91,30,58,112,34,7,288,37,92,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fadde91c721a075251422a51b21041e.jpg","130x30.5",[97],{"id":2380,"slug":2381,"title":2382,"dynasty":106,"author":284,"museum":166,"description":2383,"tags":2384,"thumbUrl":2385,"material":376,"size":377,"collection":232,"collections":2386,"showCount":2387,"zanCount":48,"manualWeight":48,"mainColor":101},283728,"feng-luan-hun-hou-tu-juan-dong-qi-chang-283728","峰峦浑厚图卷","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，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。",[23,147,24,26,91,30,152,7,149,374,34,173,154,153,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafba50469ef5c4deb60c77b30964c2f9.jpg",[],20,{"id":2389,"slug":2390,"title":2391,"dynasty":106,"author":2392,"museum":20,"description":2393,"tags":2394,"thumbUrl":2395,"material":362,"size":2396,"collection":232,"collections":2397,"showCount":2387,"zanCount":48,"manualWeight":48,"mainColor":535},234228,"xi-shan-shen-xiu-juan-hou-mao-gong-234228","溪山深秀卷","侯懋功","北京故宫博物院藏晚明侯懋功名下的两件山水长卷内容与设色方式近乎一致，基本可判定二者出于同一稿本，属于书画鉴定中俗称的“双胞胎”，这两件作品分别现名为《邛崃图》和《溪山深秀图》。通过对两件作品现状及笔墨细节比较，笔者认为前者为真，且所绘与“邛崃”无关，应以《溪山深秀图》为是。从更广泛的艺术史角度看，侯氏《溪山深秀图》属于宋代以来流行的长卷“溪山图”画意范畴，并体现了明中后期吴门画派隐(避)居山水所发生的新变化。",[23,24,26,91,30,34,112,7,35,60,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5d1e0ed58bff06f6bd49f006660055.jpg","34 * 258cm",[],{"id":2399,"slug":2400,"title":2401,"dynasty":123,"author":2402,"museum":108,"description":2403,"tags":2404,"thumbUrl":2405,"material":520,"size":2406,"collection":232,"collections":2407,"showCount":2387,"zanCount":48,"manualWeight":48,"mainColor":49},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,270,91,28,29,92,30,58,34,257,288,35,7,112,154,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":2409,"slug":2410,"title":806,"dynasty":18,"author":2411,"museum":108,"description":2412,"tags":2413,"thumbUrl":2414,"material":232,"size":232,"collection":232,"collections":2415,"showCount":2387,"zanCount":48,"manualWeight":48,"mainColor":49},230967,"shan-shui-tu-guo-xi-230967","郭熙","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。",[23,24,25,30,92,91,28,348,149,449,112,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":2417,"slug":2418,"title":2419,"dynasty":123,"author":706,"museum":166,"description":2420,"tags":2421,"thumbUrl":2423,"material":232,"size":232,"collection":232,"collections":2424,"showCount":2387,"zanCount":48,"manualWeight":48,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,147,24,25,26,29,28,57,30,59,58,184,999,401,36,35,195,933,2422,112,7,196,34],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":2426,"slug":2427,"title":433,"dynasty":18,"author":1531,"museum":166,"description":2428,"tags":2429,"thumbUrl":2431,"material":376,"size":377,"collection":232,"collections":2432,"showCount":2433,"zanCount":48,"manualWeight":48,"mainColor":439},288977,"xia-shan-tu-qu-ding-288977","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。",[147,24,26,91,92,30,152,1657,7,184,37,2430],"夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5ed240c08185678837f9810e468620.jpg",[],19,{"id":2435,"slug":2436,"title":2437,"dynasty":106,"author":284,"museum":166,"description":2438,"tags":2439,"thumbUrl":2440,"material":232,"size":232,"collection":754,"collections":2441,"showCount":2433,"zanCount":48,"manualWeight":48,"mainColor":101},237492,"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，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。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[24,25,270,91,92,153,30,59,34,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[754],{"id":2443,"slug":2444,"title":2445,"dynasty":123,"author":1920,"museum":166,"description":2446,"tags":2447,"thumbUrl":2448,"material":232,"size":232,"collection":232,"collections":2449,"showCount":2433,"zanCount":563,"manualWeight":48,"mainColor":101},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[24,25,348,91,92,386,30,1131,7,34,401,1418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],{"id":2451,"slug":2452,"title":2453,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2454,"thumbUrl":2460,"material":376,"size":377,"collection":860,"collections":2461,"showCount":2433,"zanCount":48,"manualWeight":48,"mainColor":101},226124,"the-thames-below-westminster-1871-mo-nai-226124","The Thames below Westminster, 1871",[855,1634,1338,1181,2455,2456,7,2457,199,2458,69,2459,1093,58,36,961,557],"户外写生","瞬间光影","钟楼","蒸汽船","水面波光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fb9e1255edae92c7fe290796b70f79.jpg",[860],{"id":2463,"slug":2464,"title":2465,"dynasty":123,"author":706,"museum":166,"description":2466,"tags":2467,"thumbUrl":2470,"material":232,"size":232,"collection":232,"collections":2471,"showCount":2433,"zanCount":48,"manualWeight":48,"mainColor":101},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","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。",[23,24,25,91,28,30,92,1875,112,34,7,33,35,152,37,38,131,93,2468,2469],"峰岩","飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":2473,"slug":2474,"title":2475,"dynasty":106,"author":706,"museum":166,"description":2476,"tags":2477,"thumbUrl":2478,"material":376,"size":377,"collection":232,"collections":2479,"showCount":2480,"zanCount":48,"manualWeight":48,"mainColor":101},234970,"qian-gu-hou-chi-bi-tu-shan-ye-yi-ming-234970","钱穀后赤壁图扇页","此作用泥金扇面为底，左畔危岩崚嶒，以硬朗线条勾勒山石轮廓，淡墨皴擦出嶙峋肌理，枯木虬枝错杂，苍劲尽显萧索秋意。右方留白作平湖，汀渚隐现，淡墨晕染远山，空濛悠远，暗合赤壁夜游的清旷之境。边角小字题款，书画相映，笔墨简澹却意韵悠长，将初冬泛舟的幽寂旷达，凝缩在咫尺扇面间，尽显文人山水的隐逸意趣，古雅沉静，余味悠然。",[1197,24,25,91,92,30,257,447,7,1026,173,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72bfe96b7ed4a3d63fff780dbb8b03a.jpg",[],18,{"id":2482,"slug":2483,"title":2484,"dynasty":106,"author":633,"museum":20,"description":2485,"tags":2486,"thumbUrl":2487,"material":507,"size":232,"collection":232,"collections":2488,"showCount":2480,"zanCount":48,"manualWeight":48,"mainColor":101},234242,"shan-shui-juan-sun-zhi-234242","山水卷","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,26,91,28,92,173,153,30,152,7,316,34,35,288,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":2490,"slug":2491,"title":2484,"dynasty":106,"author":2492,"museum":20,"description":2493,"tags":2494,"thumbUrl":2495,"material":2496,"size":2497,"collection":232,"collections":2498,"showCount":2480,"zanCount":563,"manualWeight":48,"mainColor":49},233145,"shan-shui-juan-wang-yan-qiang-233145","王彦强","绘江边山峦起伏，林木繁茂，隐约可见村合依山而建。山石用披麻皴，笔法秀劲细密，林木简笔勾干，以浓淡水墨点叶。\n此图景色清新，境界清寂淡泊，具有春日山乡写生的特点，为王立中罕见传世品。",[24,25,26,91,92,30,34,152,7,1418,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95037f673dc059a04e041dad1bea72e2.jpg","绢本，水墨","纵25．2厘米横53．3厘米",[],{"id":2500,"slug":2501,"title":2502,"dynasty":106,"author":1969,"museum":831,"description":2503,"tags":2504,"thumbUrl":2505,"material":232,"size":232,"collection":232,"collections":2506,"showCount":2480,"zanCount":48,"manualWeight":48,"mainColor":101},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,24,25,26,28,30,173,153,92,34,7,152,624,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":2508,"slug":2509,"title":2510,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2511,"thumbUrl":2517,"material":376,"size":377,"collection":860,"collections":2518,"showCount":2480,"zanCount":563,"manualWeight":48,"mainColor":101},226008,"quai-du-louvre-1867-mo-nai-226008","Quai du Louvre, 1867",[855,854,1014,1070,2512,7,199,2513,34,196,1015,320,961,71,960,2514,2515,2516,2035,557],"城市街景","穹顶","路灯","遮阳伞","马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b26b87b4f48bbad6a3073d8c90ffb8.jpg",[860],{"id":2520,"slug":2521,"title":2522,"dynasty":850,"author":706,"museum":166,"description":2523,"tags":2524,"thumbUrl":2527,"material":232,"size":232,"collection":232,"collections":2528,"showCount":2480,"zanCount":48,"manualWeight":48,"mainColor":101},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。",[2525,2526,28,30,35,7,149,34,169],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07c8c4f0c1a7aba20e07bf3f989d0e3.jpg",[],{"id":2530,"slug":2531,"title":2532,"dynasty":106,"author":706,"museum":2533,"description":2534,"tags":2535,"thumbUrl":2538,"material":2536,"size":232,"collection":232,"collections":2539,"showCount":2480,"zanCount":563,"manualWeight":48,"mainColor":49},222150,"fu-hui-dong-yi-ming-222150","赴会东","法海寺","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,2536,1407,28,29,58,1446,2537,30,34,7,447],"壁画","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffedf582a554b3556230ac7d6e2ef4fa2.jpg",[],{"id":2541,"slug":2542,"title":2543,"dynasty":123,"author":2544,"museum":166,"description":2545,"tags":2546,"thumbUrl":2549,"material":114,"size":2550,"collection":97,"collections":2551,"showCount":2480,"zanCount":11,"manualWeight":48,"mainColor":101},215147,"min-sheng-yan-chang-tu-juan-hua-xin-pu-sa-bao-215147","闽省盐场图卷-画芯","菩薩保","清朝时期的闽省盐场图卷-画芯是一件著名的文物。它是由清朝时期的画家所作，描绘了当时闽省的盐场景象。闽省盐场图卷-画芯因其精细的绘画技巧和对闽省盐场生产的精确描述而闻名。这件文物被认为是清朝时期艺术史上的重要作品，并被列为国家一级文物保护单位。",[23,24,26,28,29,57,30,7,637,1676,484,1633,1845,199,2547,2548],"海岸线","盐场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2369b612c63db4d4809f238f9bdb851a.jpg","38x860",[97],{"id":2553,"slug":2554,"title":2555,"dynasty":18,"author":706,"museum":166,"description":2556,"tags":2557,"thumbUrl":2559,"material":232,"size":232,"collection":232,"collections":2560,"showCount":2561,"zanCount":48,"manualWeight":48,"mainColor":49},238128,"luo-shen-tu-juan-yi-ming-238128","洛神图卷","此作用苍古笔墨铺展川山林壑，晨日悬于崖巅，凌波洛神在水一方，衣袂翩跹回望，对岸侍从簇拥车驾，尽是怅然伫立的惘然。\n\n整卷将辞赋里的缱绻离思融于山水之间，人物意态传神，布景疏密相宜，山石皴擦朴拙苍劲，林木蓊郁幽深，把洛水之别欲留不得的哀婉，晕染在荒寂的川泽烟岚中，尽显古风雅韵，将文辞里的缥缈深情化为可视的丹青愁绪。",[24,25,26,28,29,92,154,153,58,30,34,447,7,2558],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2387f98ad2c240c9075e91a659cd6878.jpg",[],17,{"id":2563,"slug":2564,"title":2565,"dynasty":106,"author":706,"museum":166,"description":2566,"tags":2567,"thumbUrl":2569,"material":232,"size":232,"collection":232,"collections":2570,"showCount":2561,"zanCount":48,"manualWeight":48,"mainColor":101},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。",[24,91,270,92,30,259,149,150,257,60,112,7,2568],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc940a1841726368ad68f75503a2d9d9f.jpg",[],{"id":2572,"slug":2573,"title":2574,"dynasty":123,"author":1990,"museum":166,"description":2575,"tags":2576,"thumbUrl":2577,"material":376,"size":377,"collection":232,"collections":2578,"showCount":2561,"zanCount":48,"manualWeight":48,"mainColor":101},235661,"shan-shui-ping-yuan-jiang-235661","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。",[24,57,29,28,30,59,34,7,33,58,401,623,169,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47a984a5ebee0ef4d208db621d44f4f0.jpg",[],{"id":2580,"slug":2581,"title":2582,"dynasty":18,"author":2583,"museum":166,"description":2584,"tags":2585,"thumbUrl":2587,"material":414,"size":2588,"collection":232,"collections":2589,"showCount":2561,"zanCount":48,"manualWeight":48,"mainColor":49},232882,"chun-xiao-bu-yu-tu-zhou-zhao-gou-232882","春晓捕鱼图轴","赵构","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，宋朝第十位皇帝、南宋第一代皇帝，在位三十五年。北宋皇帝宋徽宗第九子，宋钦宗之弟；曾获封为“康王”。在位初期因为眼见金朝强势，为了保持江山，起用主战派李纲、岳飞等等。但恐惧将领权力过大，为了强化中央集权，采取求和政策，终于绍兴十一年（1141年）与金朝达成绍兴和议，重用主和派黄潜善、汪伯彦、王伦、秦桧等人，并处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣，对金称臣。从此南宋与金朝形成南北对峙之格局。",[23,147,24,25,270,91,92,30,149,151,34,169,557,2586,7,152,33],"渔夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":2591,"slug":2592,"title":2593,"dynasty":106,"author":528,"museum":144,"description":2594,"tags":2595,"thumbUrl":2596,"material":414,"size":2597,"collection":232,"collections":2598,"showCount":2561,"zanCount":48,"manualWeight":48,"mainColor":101},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,26,91,28,92,153,1172,173,154,30,34,58,184,7,112,288,1241,401,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":2600,"slug":2601,"title":2602,"dynasty":18,"author":706,"museum":108,"description":2603,"tags":2604,"thumbUrl":2605,"material":414,"size":2606,"collection":232,"collections":2607,"showCount":2561,"zanCount":48,"manualWeight":48,"mainColor":101},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,91,92,26,30,1182,59,35,112,34,7,169,37,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":2609,"slug":2610,"title":2611,"dynasty":123,"author":1710,"museum":1711,"description":2612,"tags":2613,"thumbUrl":2614,"material":1715,"size":1716,"collection":232,"collections":2615,"showCount":2561,"zanCount":48,"manualWeight":48,"mainColor":232},220731,"xun-qin-tu-4-huang-xiang-jian-220731","寻亲图4","此作用浅绛糅合青绿晕染山水，远景山峦以淡墨轻扫，烟岚浮动间尽显清旷辽远。中近景山石以披麻皴出质，敷色柔和雅致，苍松茂林重笔点染，郁郁苍苍。\n\n长卷铺陈开江南水乡泽国之景，汀洲错落，帆影浮沉于烟波间，板桥村居隐在林木深处，人物往来其间，将山川静穆与人间烟火相融。笔墨兼具元人山水的萧散意趣与吴门画派的雅致温润，未刻意渲染行旅艰涩，只把绵长意绪藏在山光水色里，整体清和淡远，缓缓铺展出江南温润诗意，在咫尺长卷晕染出悠远沉静的山水况味。",[24,25,26,28,30,34,7,33,60,169,170,401,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ef4d8c19a7a9454ed2cb6e14ceafe4.jpg",[],{"id":2617,"slug":2618,"title":2619,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2620,"thumbUrl":2623,"material":376,"size":377,"collection":860,"collections":2624,"showCount":2625,"zanCount":48,"manualWeight":48,"mainColor":101},226141,"vetheuil-1879-mo-nai-226141","Vetheuil, 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墨笔","78.1cmx42.6cm",[],{"id":2699,"slug":2700,"title":2701,"dynasty":106,"author":2702,"museum":166,"description":2703,"tags":2704,"thumbUrl":2705,"material":232,"size":232,"collection":232,"collections":2706,"showCount":2687,"zanCount":48,"manualWeight":48,"mainColor":49},234563,"shi-han-shan-shui-shan-shi-han-234563","史汉山水扇","史汉","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。",[1197,24,25,91,30,34,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435a865ef78526e2d875416755554819.jpg",[],{"id":2708,"slug":2709,"title":2710,"dynasty":106,"author":2146,"museum":166,"description":2711,"tags":2712,"thumbUrl":2713,"material":232,"size":232,"collection":232,"collections":2714,"showCount":2687,"zanCount":48,"manualWeight":48,"mainColor":101},228351,"shi-ba-jing-tu-ce-22-zhen-song-xu-228351","十八景图册22帧","此作以半边崖岸半边水泽铺展画面，左侧危崖层叠，苍松山居错落，曲径蜿蜒伴行旅人，山石皴笔朴拙苍劲，带着沉厚古意。右侧水网交织，田畴铺陈，远岸村舍隐现，江帆点点悠游烟波间，浅淡设色晕染出江南水泽的温润空濛。笔墨简淡清逸，将林泉野趣与水乡旷远融于一帧，淡远空寂里晕开江南村居的闲静诗意，尽显寄情丘壑的文人意趣，勾勒出独属于晚明的清雅山居图景。",[23,24,25,348,28,92,30,34,7,33,172,258,934,447],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774acef0daf4b9d1744d2d7de32dfd1f.jpg",[],{"id":2716,"slug":2717,"title":2718,"dynasty":18,"author":2719,"museum":166,"description":2720,"tags":2721,"thumbUrl":2724,"material":232,"size":232,"collection":232,"collections":2725,"showCount":2687,"zanCount":48,"manualWeight":48,"mainColor":101},226560,"bian-qiao-hui-meng-tu-juan-chen-ji-zhi-226560","便桥会盟图卷","陈及之","《便桥会盟图》卷，元，陈及之作，纸本，白描，纵36厘米，横774厘米。\n该图旧作辽画，实误。款署“祜申仲春中浣富沙竹坡陳及之作”，据考，“祐申”为元代延祐庚申年的缩写。\n该卷画“便桥会盟”故事，全图共绘246人，180匹马和4头骆驼，堪称是元代绘人马最多、物景最宏大的历史画。全卷可分为三大部分，第一段，绘以党项人为主的各类马上运动和马戏表演，第二段，绘游牧之骑，以此过渡到第三段，绘便桥会盟故事，画突厥首领颉利在便桥桥头向秦王李世民求和的情景。\n全卷以白描线条绘成，得北宋李公麟遗韵。飞动自如的线条展现出人马极强的运动感，强劲之处，顿挫有力，洒脱之笔，圆转不滞。画中人马，虽盈寸方，但神情毕肖，尽见风采，细微之处，不失博大。\n清《石渠宝笈·初编》著录。",[23,147,24,26,302,29,60,58,63,30,34,152,7,2722,2723],"军队","骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb0ffce4747f42da84e0ed6e532f9db.jpg",[],{"id":2727,"slug":2728,"title":2729,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2730,"thumbUrl":2735,"material":376,"size":377,"collection":860,"collections":2736,"showCount":2687,"zanCount":48,"manualWeight":48,"mainColor":49},226062,"the-corner-of-the-garden-at-montgeron-1876-mo-nai-226062","The 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1885",[854,855,1339,7,2622,34,128,1014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b6e90f99acd46db67c3ab23c30ee95.jpg",[860],{"id":2757,"slug":2758,"title":2759,"dynasty":850,"author":706,"museum":166,"description":2760,"tags":2761,"thumbUrl":2767,"material":232,"size":232,"collection":232,"collections":2768,"showCount":2687,"zanCount":48,"manualWeight":48,"mainColor":101},225328,"fu-shi-hui-78-yi-ming-225328","浮世绘78","寒波之上，浮桥蜿蜒铺陈，驮马随旅人踏桥缓行，蓑笠行人点缀其上，将冬日常态揉入冷寂雪景里。右侧茅庐覆雪，孤松孑立，枝桠凝雪愈显清瘦。浅绛远山留白晕出积雪，靛蓝水面细浪轻翻，冷色调里暖棕柔化了冬日萧寒。\n\n线条勾勒出积雪蓬松质感，平涂设色带着雅致装饰意趣，虚实相生间铺展郊野冬旅的幽闲况味，静穆清寂中藏着行路的烟火暖意，把冬日清冽与日常行旅绘成一卷诗意冬景。",[2525,2526,2762,28,1993,63,58,256,227,542,35,288,1254,7,2763,71,2764,686,34,2765,259,2766],"版画","冬季","骑马","小屋","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],{"id":2770,"slug":2771,"title":2772,"dynasty":123,"author":706,"museum":166,"description":2466,"tags":2773,"thumbUrl":2774,"material":232,"size":232,"collection":232,"collections":2775,"showCount":2687,"zanCount":48,"manualWeight":48,"mainColor":101},223527,"wu-yi-shan-shi-ba-jing-tu-2-yi-ming-223527","武夷山十八景图2",[23,24,25,91,30,92,149,112,34,7,348,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0a6154bc08a6564afd5a91ee205e4b.jpg",[],{"id":2777,"slug":2778,"title":2779,"dynasty":123,"author":2780,"museum":144,"description":2781,"tags":2782,"thumbUrl":2783,"material":114,"size":2784,"collection":232,"collections":2785,"showCount":2687,"zanCount":48,"manualWeight":48,"mainColor":101},219845,"shan-shui-tu-ce-2-xie-sun-219845","山水图册-2","谢荪","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[147,24,28,348,30,412,58,34,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8ea66273bf36744a66e697c7010deb.jpg","14.2x19.2",[],{"id":2787,"slug":2788,"title":2789,"dynasty":123,"author":124,"museum":166,"description":2790,"tags":2791,"thumbUrl":2799,"material":91,"size":232,"collection":232,"collections":2800,"showCount":2687,"zanCount":48,"manualWeight":48,"mainColor":101},216843,"zhan-zheng-tong-ban-hua-5-lang-shi-ning-216843","战争铜版画-5","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[2792,2793,2794,58,63,2795,7,2796,2797,2798],"铜版画","战争画","历史画","山地","营帐","战场","军事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08a96a4a454605b60f07827bf939dce.jpg",[],{"id":2802,"slug":2803,"title":2804,"dynasty":123,"author":396,"museum":166,"description":2805,"tags":2806,"thumbUrl":2807,"material":232,"size":232,"collection":232,"collections":2808,"showCount":219,"zanCount":48,"manualWeight":48,"mainColor":101},237769,"yuan-ji-shan-shui-tu-ce-shi-tao-237769","原济山水图册","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。",[24,25,348,28,92,30,447,34,35,7,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F975178692752951cb0cf686cd98c9afa.jpg",[],{"id":2810,"slug":2811,"title":2812,"dynasty":106,"author":706,"museum":166,"description":2813,"tags":2814,"thumbUrl":2815,"material":232,"size":232,"collection":232,"collections":2816,"showCount":219,"zanCount":48,"manualWeight":48,"mainColor":101},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[24,25,270,91,28,92,30,59,34,149,61,154,199,7,257,169,1209,316,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],{"id":2818,"slug":2819,"title":2820,"dynasty":123,"author":481,"museum":20,"description":2136,"tags":2821,"thumbUrl":2823,"material":520,"size":2824,"collection":232,"collections":2825,"showCount":219,"zanCount":48,"manualWeight":48,"mainColor":49},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[23,24,26,91,29,30,259,7,316,34,199,258,60,485,544,2822,154],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 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厘米",[],{"id":2857,"slug":2858,"title":2859,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2860,"thumbUrl":2861,"material":376,"size":377,"collection":860,"collections":2862,"showCount":219,"zanCount":48,"manualWeight":48,"mainColor":49},226031,"small-boat-on-the-small-branch-of-the-seine-at-argenteuil-1872-mo-nai-226031","Small Boat on the Small Branch of the Seine at Argenteuil, 1872",[855,854,1734,1634,1338,33,1182,7,557,1184,34,624,128,961,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed19734cf7c3fb1f269ec7e8c284ca0e.jpg",[860],{"id":2864,"slug":2865,"title":1651,"dynasty":123,"author":2866,"museum":166,"description":2867,"tags":2868,"thumbUrl":2870,"material":232,"size":232,"collection":97,"collections":2871,"showCount":204,"zanCount":48,"manualWeight":48,"mainColor":101},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。",[2869,24,25,348,91,28,30,149,58,63,7],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d5cfaaa35db34dd3fc8041a6cf3523.jpg",[97,45],{"id":2873,"slug":2874,"title":2484,"dynasty":123,"author":2875,"museum":166,"description":2876,"tags":2877,"thumbUrl":2878,"material":362,"size":232,"collection":232,"collections":2879,"showCount":204,"zanCount":48,"manualWeight":48,"mainColor":101},234256,"shan-shui-juan-li-shao-ji-234256","李绍箕","李绍箕（1550～1631后）明代画家、诗人。字懋承。华亭（今上海松江）人。其祖父李日章，官按察副使。绍箕少承家学，长于诗文，以太学生官南京鸿胪寺序班，后官江西都昌主簿。擅画山水，师岳父顾正谊，能师承其画风，并因任职南昌，多涉历山川胜景，画艺益进，晚年运笔苍劲，年八十有余尚挥洒不倦。",[23,24,25,26,91,92,173,153,30,152,34,288,35,638,7,447],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1d2d7087f5607236ef25610e823c52.jpg",[],{"id":2881,"slug":2882,"title":2883,"dynasty":850,"author":2884,"museum":166,"description":2885,"tags":2886,"thumbUrl":2888,"material":376,"size":377,"collection":232,"collections":2889,"showCount":204,"zanCount":48,"manualWeight":48,"mainColor":101},231790,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-juan-he-guo-xiao-zhai-231790","明清日本古画粉本-山水卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,26,91,28,30,31,37,34,2887,259,7],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],{"id":2891,"slug":2892,"title":2893,"dynasty":106,"author":2261,"museum":166,"description":2894,"tags":2895,"thumbUrl":2896,"material":232,"size":232,"collection":232,"collections":2897,"showCount":204,"zanCount":48,"manualWeight":48,"mainColor":101},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,26,91,30,92,154,173,153,112,34,7,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":2899,"slug":2900,"title":539,"dynasty":86,"author":1821,"museum":166,"description":2901,"tags":2902,"thumbUrl":2903,"material":232,"size":232,"collection":232,"collections":2904,"showCount":204,"zanCount":48,"manualWeight":48,"mainColor":101},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","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。",[23,147,24,25,26,91,92,30,7,34,1026,35,60,169,1209,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":2906,"slug":2907,"title":2908,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2909,"thumbUrl":2911,"material":376,"size":377,"collection":860,"collections":2912,"showCount":204,"zanCount":48,"manualWeight":48,"mainColor":101},225985,"melting-of-floes-at-ve-theuil-1881-mo-nai-225985","Melting of Floes at Vétheuil, 1881",[855,854,1071,1014,1070,557,2631,2910,7,34,484,259,1184,272,2763],"融化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e3a52b1fd28e2461a358c222129b93.jpg",[860],{"id":2914,"slug":2915,"title":2916,"dynasty":123,"author":2917,"museum":166,"description":2918,"tags":2919,"thumbUrl":2920,"material":232,"size":232,"collection":232,"collections":2921,"showCount":204,"zanCount":563,"manualWeight":48,"mainColor":101},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","关槐","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,24,25,270,28,30,92,227,228,7,128,290,38,154,173,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":2923,"slug":2924,"title":2532,"dynasty":106,"author":706,"museum":2533,"description":2534,"tags":2925,"thumbUrl":2927,"material":2536,"size":232,"collection":232,"collections":2928,"showCount":204,"zanCount":48,"manualWeight":48,"mainColor":49},222149,"fu-hui-dong-yi-ming-222149",[23,2536,28,29,58,1589,30,2926,1361,34,7,1590,172],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969e04e58a9a76dbc8e73e19f7ef5a5b.jpg",[],{"id":2930,"slug":2931,"title":2932,"dynasty":123,"author":2933,"museum":166,"description":2934,"tags":2935,"thumbUrl":2936,"material":376,"size":377,"collection":232,"collections":2937,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":101},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[24,25,270,91,92,386,30,112,34,35,7,169,170,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],{"id":2939,"slug":2940,"title":2941,"dynasty":106,"author":2304,"museum":166,"description":2942,"tags":2943,"thumbUrl":2944,"material":376,"size":377,"collection":232,"collections":2945,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":535},237964,"shan-shui-shan-ye-wen-bo-ren-237964","山水扇页","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。",[1197,91,92,30,34,112,7,58,401,1457,787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d74be524d3c7e5a4ee1128812e7204.jpg",[],{"id":2947,"slug":2948,"title":2949,"dynasty":123,"author":587,"museum":20,"description":2950,"tags":2951,"thumbUrl":2952,"material":520,"size":2953,"collection":97,"collections":2954,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":101},236745,"shan-shui-ce-zhuang-zhou-wang-yuan-qi-236745","山水册装轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\n做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,348,91,28,92,30,34,7,169,170,93,447],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纵29cm，横42.3cm",[97,79,754],{"id":2956,"slug":2957,"title":2958,"dynasty":123,"author":1238,"museum":166,"description":2959,"tags":2960,"thumbUrl":2961,"material":376,"size":377,"collection":232,"collections":2962,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":101},235340,"fang-gu-shu-hua-ce-wang-jian-235340","仿古书画册","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,25,348,28,386,30,34,7,2219,35,154,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d189d3f83f12b33c2e3a1215d87e93.jpg",[],{"id":2964,"slug":2965,"title":1651,"dynasty":86,"author":1821,"museum":20,"description":2966,"tags":2967,"thumbUrl":2968,"material":362,"size":2969,"collection":232,"collections":2970,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},233176,"shan-shui-ce-cao-zhi-bai-233176","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,25,91,153,92,348,30,34,7,169,37,60,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17ecbbd4b4d239fdd07a6646c24e93.jpg","纵33.1cm，横27.4cm",[],{"id":2972,"slug":2973,"title":2974,"dynasty":123,"author":481,"museum":2975,"description":2136,"tags":2976,"thumbUrl":2978,"material":414,"size":2979,"collection":232,"collections":2980,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":101},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图","南京博物院",[23,24,147,148,91,28,92,152,1657,1253,93,35,149,172,7,2977],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":2982,"slug":2983,"title":2984,"dynasty":123,"author":1238,"museum":345,"description":2985,"tags":2986,"thumbUrl":2987,"material":414,"size":2988,"collection":232,"collections":2989,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,24,25,270,30,28,92,386,227,228,7,447,1677,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":2991,"slug":2992,"title":2993,"dynasty":850,"author":851,"museum":166,"description":852,"tags":2994,"thumbUrl":2995,"material":376,"size":377,"collection":860,"collections":2996,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":101},225970,"lavacourt-under-snow-1879-mo-nai-225970","Lavacourt under Snow, 1879",[855,854,959,1338,259,35,257,7,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151957d2f99c73ba27a5386c24def036.jpg",[860],{"id":2998,"slug":2999,"title":3000,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3001,"thumbUrl":3003,"material":376,"size":377,"collection":860,"collections":3004,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":101},225915,"claude-monet-the-winter-near-lavacourt-1880-mo-nai-225915","Claude Monet - The Winter, near Lavacourt, 1880",[147,854,855,1634,1338,1340,2763,7,149,58,34,961,3002,960,272],"薄冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae429c102664320b6ecfd5bfab9dfb33.jpg",[860],{"id":3006,"slug":3007,"title":3008,"dynasty":123,"author":3009,"museum":166,"description":3010,"tags":3011,"thumbUrl":3012,"material":232,"size":232,"collection":232,"collections":3013,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","王时敏","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[23,24,25,348,27,28,92,30,34,1026,112,37,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":3015,"slug":3016,"title":3017,"dynasty":123,"author":1238,"museum":345,"description":3018,"tags":3019,"thumbUrl":3020,"material":451,"size":232,"collection":232,"collections":3021,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":101},215022,"fang-gu-shan-shui-ce-8-wang-jian-215022","仿古山水册-8","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。",[24,91,348,610,92,30,34,112,35,7,288,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3e87a735bf5fbbc93441ab92abd2c3.jpg",[],{"id":3023,"slug":3024,"title":3025,"dynasty":123,"author":706,"museum":166,"description":3026,"tags":3027,"thumbUrl":3028,"material":376,"size":377,"collection":232,"collections":3029,"showCount":118,"zanCount":48,"manualWeight":48,"mainColor":49},235655,"gao-jian-jiang-xiang-chu-xia-tu-zhou-yi-ming-235655","高简江乡初夏图轴","此作用青绿晕染山峦，淡赭铺陈水岸云天，冷暖色调交织晕化，铺展出初夏江乡温润朦胧的氛围。近景林木错落疏密，溪涧蜿蜒穿绕石畔，野趣横生。丘峦由近及远逐层淡去，水汽氤氲间与云天相融，留白拓开渺远空阔的江天意境。左上角题诗与画境相映，将江乡初夏的清润闲适尽数铺展，以雅致设色与悠远构图，尽显江南水乡初夏的空濛雅致，是颇具抒情意趣的青绿山水佳作。",[24,25,270,27,28,30,34,7,152,37,2219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108657341743e2d321215d43e24b26e3.jpg",[],{"id":3031,"slug":3032,"title":3033,"dynasty":106,"author":3034,"museum":20,"description":3035,"tags":3036,"thumbUrl":3038,"material":362,"size":3039,"collection":232,"collections":3040,"showCount":118,"zanCount":48,"manualWeight":48,"mainColor":101},234808,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-zhang-zhou-yuan-tu-ye-wen-jia-234808","吴门诸家寿袁方斋三绝册-长洲苑图页","文嘉","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。",[24,25,348,28,30,34,7,169,3037,92],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a520d1397b390fe6e861f5cfb2c669.jpg","22.2*26.7cm",[],{"id":3042,"slug":3043,"title":3044,"dynasty":123,"author":3045,"museum":3046,"description":3047,"tags":3048,"thumbUrl":3049,"material":2695,"size":3050,"collection":232,"collections":3051,"showCount":118,"zanCount":48,"manualWeight":48,"mainColor":49},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","沈宗骞","旅顺博物馆","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,24,25,26,91,92,30,34,112,7,37,169,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":3053,"slug":3054,"title":3055,"dynasty":106,"author":706,"museum":166,"description":3056,"tags":3057,"thumbUrl":3058,"material":232,"size":232,"collection":232,"collections":3059,"showCount":118,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,25,26,30,386,28,92,152,34,7,230,60,61,172,258,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":3061,"slug":3062,"title":3063,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3064,"thumbUrl":3070,"material":376,"size":377,"collection":860,"collections":3071,"showCount":118,"zanCount":48,"manualWeight":48,"mainColor":49},226051,"the-bridge-at-argenteuil-1874-mo-nai-226051","The Bridge at Argenteuil, 1874",[855,1014,1070,1071,874,7,316,3065,3066,3067,3068,961,2220,199,3069,1782,272],"桅杆","石拱桥","塔楼","树林","1874","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F221d7867ff2d1bca89f685ab2d4e3019.jpg",[860],{"id":3073,"slug":3074,"title":3075,"dynasty":123,"author":2000,"museum":166,"description":3076,"tags":3077,"thumbUrl":3079,"material":376,"size":377,"collection":232,"collections":3080,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":101},290431,"jing-wei-shu-ji-shi-shi-wen-juan-dong-gao-290431","泾渭蜀纪实诗文卷","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”。",[23,26,24,25,28,27,30,7,152,374,173,153,3078],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef2f3667c968e7989f9a935ff5bf5351.jpg",[],{"id":3082,"slug":3083,"title":3084,"dynasty":123,"author":3085,"museum":166,"description":3086,"tags":3087,"thumbUrl":3088,"material":232,"size":232,"collection":232,"collections":3089,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":101},238237,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238237","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》。",[24,25,348,28,30,34,35,7,169,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53bf867099796592a9cf26206539fb1.jpg",[],{"id":3091,"slug":3092,"title":3093,"dynasty":123,"author":3094,"museum":166,"description":3095,"tags":3096,"thumbUrl":3099,"material":232,"size":232,"collection":232,"collections":3100,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":101},238229,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238229","仿王翬山水册","曹夔音","此作用笔苍秀老辣，以披麻皴晕染山峦肌理，石骨硬朗不失温润质感。近溪错落排布屋舍林木，寥寥数笔点染出山居清寂之趣，远山晕以浅黛，虚实相映，晕染出空濛淡远的秋山氛围。\n\n整幅追摹古贤笔意，将林下幽居的静穆诗意融于尺幅之间，题跋诗文与绘景相得益彰，尽显文人画诗画交融的雅致意趣。笔墨间浸透着内敛沉静的古雅格调，铺陈出秋日山居萧散淡远的悠悠意境，观之如临其境，仿若可闻溪声林籁，沉潜于幽寂山居的澹泊况味中。",[24,25,30,348,91,92,112,34,7,37,169,787,172,173,3097,3098],"浅设色","传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a306cc9ec5feefb9c0dd7065e0a00b.jpg",[],{"id":3102,"slug":3103,"title":3104,"dynasty":106,"author":3034,"museum":166,"description":3105,"tags":3106,"thumbUrl":3107,"material":232,"size":232,"collection":232,"collections":3108,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":101},236410,"xiao-xiang-ba-jing-ce-wen-jia-236410","潇湘八景册","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。”",[24,91,30,348,92,34,7,149,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305dfb6544d16e40cc8dd1deb269c066.jpg",[],{"id":3110,"slug":3111,"title":1651,"dynasty":106,"author":284,"museum":20,"description":785,"tags":3112,"thumbUrl":3114,"material":362,"size":789,"collection":232,"collections":3115,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":101},233803,"shan-shui-ce-dong-qi-chang-233803",[24,91,92,348,154,30,34,112,7,1253,447,131,1657,169,170,289,3113],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75710c5e147415e81d5f1e9b06ef7dca.jpg",[],{"id":3117,"slug":3118,"title":1651,"dynasty":86,"author":1821,"museum":20,"description":2966,"tags":3119,"thumbUrl":3120,"material":362,"size":2969,"collection":232,"collections":3121,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":49},233171,"shan-shui-ce-cao-zhi-bai-233171",[24,25,348,91,92,30,228,112,7,449,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6408584eed70bd48c077607537a093.jpg",[],{"id":3123,"slug":3124,"title":3125,"dynasty":106,"author":706,"museum":166,"description":3126,"tags":3127,"thumbUrl":3128,"material":376,"size":377,"collection":232,"collections":3129,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":49},228416,"fu-hui-dong-quan-tu-yi-ming-228416","赴会东全图","位于法海寺大殿内的壁画 距今已有六百多年",[24,28,29,1407,58,30,34,7,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b687fd5235dc9913210ece4e58eb6fc.jpg",[],{"id":3131,"slug":3132,"title":3133,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3134,"thumbUrl":3139,"material":376,"size":377,"collection":860,"collections":3140,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":49},225965,"la-grenouille-re-1869-mo-nai-225965","La Grenouillère, 1869",[854,855,557,33,3135,58,34,3136,1184,2221,7,3137,959,3138],"浮台","遮阳棚","岸边植被","笔触轻快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe04e3099fcb04d5276a0722af4553b23.jpg",[860],{"id":3142,"slug":3143,"title":3144,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3145,"thumbUrl":3147,"material":376,"size":377,"collection":860,"collections":3148,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":49},225955,"inondation-de-la-seine-a-vetheuil-1881-mo-nai-225955","Inondation de la Seine à Vetheuil, 1881",[854,855,3146,7,257,961,35,557,1071,1014],"洪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede08a6900bf487b55d1368b230025f5.jpg",[860],{"id":3150,"slug":3151,"title":3152,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3153,"thumbUrl":3157,"material":376,"size":377,"collection":860,"collections":3158,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":439},225949,"houses-of-parliament-reflection-of-the-thames-1900-01-mo-nai-225949","Houses of Parliament, Reflection of the Thames, 1900-01",[855,959,3154,1181,3155,7,199,874,37,149,1636,961,3156],"色彩叠加","朦胧","光影反射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab85cd2ddec6bd1df0182ed4e56a120.jpg",[860],{"id":3160,"slug":3161,"title":3162,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3163,"thumbUrl":3165,"material":376,"size":377,"collection":860,"collections":3166,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":439},225948,"houses-of-parliament-fog-effect-1903-mo-nai-225948","Houses of Parliament, Fog Effect, 1903",[855,854,3164,1014,2745,557,316,856,7,3155],"雾效","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea922004bc7a22912ba6d14406f8193.jpg",[860],{"id":3168,"slug":3169,"title":3170,"dynasty":123,"author":706,"museum":166,"description":2466,"tags":3171,"thumbUrl":3172,"material":232,"size":232,"collection":232,"collections":3173,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":101},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4",[23,24,25,91,28,92,348,30,112,34,149,7,199,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":3175,"slug":3176,"title":3177,"dynasty":123,"author":3178,"museum":345,"description":3179,"tags":3180,"thumbUrl":3181,"material":156,"size":232,"collection":232,"collections":3182,"showCount":187,"zanCount":48,"manualWeight":48,"mainColor":101},214495,"shui-mo-tu-ce-8-zheng-min-214495","水墨图册-8","郑旼","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。",[23,24,25,348,91,153,92,30,227,34,93,199,7,169,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7b6c70420fc5555a1206f12d623238.jpg",[],{"id":3184,"slug":3185,"title":3186,"dynasty":123,"author":3187,"museum":166,"description":3188,"tags":3189,"thumbUrl":3190,"material":232,"size":232,"collection":232,"collections":3191,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":101},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","林纾","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,25,26,91,92,29,173,153,154,30,7,34,35,60,316,112,544,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],{"id":3193,"slug":3194,"title":3195,"dynasty":123,"author":3196,"museum":166,"description":3197,"tags":3198,"thumbUrl":3199,"material":232,"size":232,"collection":97,"collections":3200,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":101},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》。",[24,28,30,92,348,258,34,35,152,7,149,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182be133dad35f37be5b2afebc61ce5a.jpg",[97,45],{"id":3202,"slug":3203,"title":3204,"dynasty":123,"author":706,"museum":166,"description":3205,"tags":3206,"thumbUrl":3208,"material":232,"size":232,"collection":232,"collections":3209,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24,25,270,28,30,259,227,542,288,623,35,58,7,1254,257,447,3207,92],"冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc86f7786a0e780b5ff66b2cd24fe16.jpg",[],{"id":3211,"slug":3212,"title":3213,"dynasty":850,"author":3214,"museum":166,"description":3215,"tags":3216,"thumbUrl":3217,"material":376,"size":377,"collection":232,"collections":3218,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},231720,"ri-ben-lian-cang-shi-dai-di-qi-juan-juan-ben-fa-yan-yuan-yi-231720","日本镰仓时代 第七卷绢本","法眼圆伊","这幅绘卷诗画合璧，河川乡野铺展为鲜活舞台，左侧楼阁雅集、河滨行旅络绎，右侧町外农舍间，田垄劳作、涉水救难的日常图景一一铺陈，尽显俗世百态。\n\n古雅沉郁的绢本底色上，朴拙生动的线条勾勒出鲜活的世相烟火气，中段的和歌文书串联起浮生情爱与幽微思绪，将市井悲欢、乡野闲情与文学意趣交织，让画面叙事与文字共情融为一体，带着旧物的岁月温度，静静诉说着中古日常的细腻况味。",[23,95,26,28,29,58,30,7,36,199,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726c0e520b1bd318e1fa83179658cdaf.jpg",[],{"id":3220,"slug":3221,"title":3222,"dynasty":123,"author":1327,"museum":166,"description":3223,"tags":3224,"thumbUrl":3226,"material":232,"size":232,"collection":232,"collections":3227,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":101},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,25,26,28,92,29,30,257,288,3225,112,7,1254,154],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":3229,"slug":3230,"title":3231,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3232,"thumbUrl":3233,"material":376,"size":377,"collection":860,"collections":3234,"showCount":247,"zanCount":563,"manualWeight":48,"mainColor":101},226117,"the-seine-at-vetheuil-3-1879-mo-nai-226117","The Seine at Vetheuil 3, 1879",[855,854,1014,1070,1071,7,33,58,485,2621,34,961,557,1184,199,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4230a1310934af7a33c7e702131decd3.jpg",[860],{"id":3236,"slug":3237,"title":3238,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3239,"thumbUrl":3240,"material":376,"size":377,"collection":860,"collections":3241,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},226114,"the-seine-at-argenteuil-1877-mo-nai-226114","The Seine at Argenteuil, 1877",[854,855,7,1182,1590,960,58,1845,34,961,1014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ccc1310d2965ec2e5c396fd5b0a684.jpg",[860],{"id":3243,"slug":3244,"title":3245,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3246,"thumbUrl":3251,"material":376,"size":377,"collection":860,"collections":3252,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},226053,"the-bridge-under-repair-1871-1872-mo-nai-226053","The Bridge under Repair, 1871-1872",[855,1734,1634,3247,1340,36,3248,7,1184,3249,199,34,557,3250],"色彩表现","脚手架","蒸汽","维修场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ac063d2eb11f913532d6effd9b7c0.jpg",[860],{"id":3254,"slug":3255,"title":3256,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3257,"thumbUrl":3259,"material":376,"size":377,"collection":860,"collections":3260,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},226004,"poppy-field-near-vetheuil-1879-mo-nai-226004","Poppy Field near Vetheuil, 1879",[854,855,1733,2025,2742,958,3258,58,7,34,199,961,543,128],"罂粟花田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b94a80ea32d3392f12db152b9af3fd1.jpg",[860],{"id":3262,"slug":3263,"title":806,"dynasty":18,"author":3264,"museum":166,"description":3265,"tags":3266,"thumbUrl":3267,"material":376,"size":377,"collection":232,"collections":3268,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":49},289770,"shan-shui-tu-guo-zhong-shu-289770","郭忠恕","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。",[23,24,148,28,92,30,149,258,449,60,35,7,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379069d1ed23b59d2210624377be955a.jpg",[],{"id":3270,"slug":3271,"title":3093,"dynasty":123,"author":3094,"museum":166,"description":3272,"tags":3273,"thumbUrl":3274,"material":232,"size":232,"collection":232,"collections":3275,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":101},238230,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238230","此作用淡墨晕染远山，留白摹绘烟水浩渺，山峦以干笔皴擦出苍朴质感，汀渚错落隐于烟波间，寥寥数笔便勾勒出江乡秋日的空濛悠远。\n画面与左侧题诗相映成趣，诗画交融，将澹泊清旷的山居野趣铺陈开来。笔致秀雅沉静，脱尽尘俗，以极简笔墨营造出悠远空灵的意境，尽显寄情丘壑的文人雅韵，把传统山水的诗意氛围感烘托到极致。",[147,24,25,348,91,92,153,386,30,152,34,7,258,400,60,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b5de921774d38902a6ec18c2be0775.jpg",[],{"id":3277,"slug":3278,"title":3279,"dynasty":123,"author":481,"museum":108,"description":3280,"tags":3281,"thumbUrl":3282,"material":414,"size":232,"collection":232,"collections":3283,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":535},237385,"jiu-jia-shan-shui-ce-shen-cang-ping-lin-tu-ye-wang-hui-237385","九家山水册-沈苍平林图页","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。",[24,25,348,28,91,92,30,34,1026,112,7,1253,412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0f98556e4a5d46c511b0791eec412b2.jpg",[],{"id":3285,"slug":3286,"title":1651,"dynasty":106,"author":1652,"museum":166,"description":3287,"tags":3288,"thumbUrl":3289,"material":232,"size":232,"collection":232,"collections":3290,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":101},235830,"shan-shui-ce-li-liu-fang-235830","此帧以淡逸水墨写桐阴幽居意趣，双桐并立，阔笔点染团叶，墨色干湿浓淡相生，苍润清灵，枝干简劲纵逸，暗含拙朴古意。留白处绘平远水色，淡墨晕染岸渚遥岑，虚实相映间漾出幽寂淡远的林下清趣。\n\n画师取元人山水简淡萧散之韵，不事雕琢，以简驭繁，将文人幽淡襟怀寄寓笔墨间。笔底自带冷隽疏朗的林下风致，尽脱尘俗，寥寥数笔便写就幽居恬然意境，淡而弥远，简而味长，尽显尚韵重意的文人画特质。",[24,25,1875,91,399,92,30,34,7,173,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b25ed91142c57fd8dde09e56ee58ede.jpg",[],{"id":3292,"slug":3293,"title":3294,"dynasty":106,"author":3295,"museum":20,"description":2840,"tags":3296,"thumbUrl":3297,"material":2150,"size":2843,"collection":232,"collections":3298,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":101},233134,"ming-ren-xi-shan-sheng-jing-he-bi-ce-tao-hua-wu-ye-chen-chun-233134","明人西山胜景合壁册-桃花坞页","陈淳",[24,25,348,153,91,30,34,1418,999,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1625054511cd74fa7d87587b64b1b6f.jpg",[],{"id":3300,"slug":3301,"title":3302,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3303,"thumbUrl":3306,"material":376,"size":377,"collection":860,"collections":3307,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":101},226125,"the-thaw-at-vetheuil-1880-mo-nai-226125","The Thaw at Vetheuil, 1880",[855,854,959,1338,957,7,3304,34,169,961,1184,259,3305,960,38],"冰块","冬末","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55195edd30bfd323bf193de1dafa4677.jpg",[860],{"id":3309,"slug":3310,"title":3311,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3312,"thumbUrl":3313,"material":376,"size":377,"collection":860,"collections":3314,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":101},226122,"the-thames-at-westminster-1871-mo-nai-226122","The Thames at Westminster, 1871",[854,855,1014,856,1071,7,199,316,69,58,36,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b1f9bfeebe7fc2d67634f2e50675ac0.jpg",[860],{"id":3316,"slug":3317,"title":3318,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3319,"thumbUrl":3320,"material":376,"size":377,"collection":860,"collections":3321,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":101},226119,"the-small-arm-of-the-seine-at-argenteuil-1872-mo-nai-226119","The Small Arm of the Seine at Argenteuil, 1872",[855,854,1014,1070,7,960,128,257,58,874,961,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3733f67bd35072bb9486cb255434c1f8.jpg",[860],{"id":3323,"slug":3324,"title":3325,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3326,"thumbUrl":3327,"material":376,"size":377,"collection":860,"collections":3328,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":101},226108,"the-riverbank-at-lavacourt-snow-1879-mo-nai-226108","The Riverbank at Lavacourt, Snow, 1879",[855,854,259,960,257,71,169,7,73,199,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c01a42ecdc836eccc81841cf39acb80.jpg",[860],{"id":3330,"slug":3331,"title":3332,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3333,"thumbUrl":3335,"material":376,"size":377,"collection":860,"collections":3336,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":49},226099,"the-promenade-at-argenteuil-02-1872-mo-nai-226099","The Promenade at Argenteuil 02, 1872",[854,855,2025,1014,7,34,2219,199,961,128,58,3334,1184,557],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e665035f6282e2a502290c2d6608b0f.jpg",[860],{"id":3338,"slug":3339,"title":3340,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3341,"thumbUrl":3344,"material":376,"size":377,"collection":860,"collections":3345,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":101},226088,"the-petit-bras-of-the-seine-at-argenteuil-mo-nai-226088","The Petit Bras of the Seine at Argenteuil",[854,855,7,34,960,58,3342,3343],"郊野风光","朦胧光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387458d19bd3c02107e8802fc17c6cb0.jpg",[860],{"id":3347,"slug":3348,"title":3349,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3350,"thumbUrl":3351,"material":376,"size":377,"collection":860,"collections":3352,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":49},226043,"the-banks-of-the-seine-near-jeufosse-eure-mo-nai-226043","The Banks of the Seine near Jeufosse (Eure),",[854,855,1339,7,34,316,960,961,1014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88aa2b1fb926bdba4042969fce1f5d11.jpg",[860],{"id":3354,"slug":3355,"title":3356,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3357,"thumbUrl":3358,"material":376,"size":377,"collection":860,"collections":3359,"showCount":178,"zanCount":48,"manualWeight":48,"mainColor":49},226042,"the-banks-of-the-seine-at-port-villez-1885-mo-nai-226042","The Banks of the Seine at Port-Villez, 1885",[854,855,30,7,960,34,961,2220,959,1777,1340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96ec56cd645cbeadbfbd70108d65c95.jpg",[860],{"id":3361,"slug":3362,"title":3363,"dynasty":850,"author":706,"museum":166,"description":3364,"tags":3365,"thumbUrl":3367,"material":376,"size":377,"collection":232,"collections":3368,"showCount":178,"zanCount":563,"manualWeight":48,"mainColor":101},225406,"fu-shi-hui-163-yi-ming-225406","浮世绘163","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。",[2525,28,2558,58,623,152,7,3366],"竹篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9124eb0ab3ed7fa2595d3394eb70809.jpg",[],{"id":3370,"slug":3371,"title":2048,"dynasty":18,"author":3264,"museum":166,"description":3265,"tags":3372,"thumbUrl":3373,"material":376,"size":377,"collection":232,"collections":3374,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":49},291001,"shan-shui-tu-zhou-guo-zhong-shu-291001",[147,24,25,30,28,92,149,258,374,257,152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b7155754987b42b5e622d176737084.jpg",[],{"id":3376,"slug":3377,"title":3378,"dynasty":123,"author":3379,"museum":166,"description":3380,"tags":3381,"thumbUrl":3385,"material":376,"size":377,"collection":232,"collections":3386,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},238452,"geng-zhi-tu-ce-mian-yi-238452","耕织图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[28,348,29,58,2003,3382,34,35,7,3383,3384],"稻禾","农具","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba7403b6f63f243f90a304d96568969.jpg",[],{"id":3388,"slug":3389,"title":3390,"dynasty":123,"author":3391,"museum":166,"description":3392,"tags":3393,"thumbUrl":3394,"material":232,"size":232,"collection":232,"collections":3395,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},238248,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238248","燕山八景图册","张若澄","此作以诗画合璧尽显雅趣。左侧绘春日元大都琼岛，白石塔卓立洲中，层叠殿宇掩映在抽芽新绿里，淡墨晕开环泊春水，烟波轻笼，清润柔雅间晕出春日融融生机。屋舍桥道排布谨细，草木点染灵动鲜活，将皇家御苑的清隽春景凝于尺幅。\n右侧行书题诗笔致秀逸舒展，诗句咏叹春阴耕作、胜赏悦心，与画中景致呼应，诗画相生，勾勒出燕京春日独有的温润静雅，尽显小品山水的隽永情致。",[24,28,29,59,60,30,34,199,7,173,153,154,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5070eba5081d3f5f988a6347fb9c5501.jpg",[],{"id":3397,"slug":3398,"title":3399,"dynasty":123,"author":1920,"museum":166,"description":3400,"tags":3401,"thumbUrl":3402,"material":232,"size":232,"collection":232,"collections":3403,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},237877,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237877","杨晋仿古山水册","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。",[24,25,348,91,92,610,30,227,228,149,199,7,1418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e91f0bc7b811b87878217c1b5bff2b.jpg",[],{"id":3405,"slug":3406,"title":1651,"dynasty":123,"author":587,"museum":166,"description":3407,"tags":3408,"thumbUrl":3409,"material":232,"size":232,"collection":232,"collections":3410,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},236051,"shan-shui-ce-wang-yuan-qi-236051","此作用笔苍浑老辣，以干笔积墨反复皴染山峦，层层叠叠间尽显山石厚重质感。上部奇峰拔地而起，留白作云气萦绕山坳，将高旷幽深之意藏于留白间。下部水泽蜿蜒环抱着错落村居，萧疏林木点缀其间，晕染出冬日元寂清和的淡远氛围。\n\n画作以披麻解索皴写山石肌理，枯淡中见秀润，苍润结合间恪守正统笔墨宗法，将文人画的书卷气融于山水丘壑之内，静穆雅致中带着醇厚的笔墨意趣，尽显山水空濛萧散的冬日意韵。",[24,147,91,92,348,30,112,34,35,7,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc787e8552221060b97bb2fd4ea44b26a.jpg",[],{"id":3412,"slug":3413,"title":1651,"dynasty":123,"author":3414,"museum":166,"description":3415,"tags":3416,"thumbUrl":3417,"material":232,"size":232,"collection":232,"collections":3418,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},235553,"shan-shui-ce-zhu-chang-235553","祝昌","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。",[24,25,348,91,28,30,149,34,112,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8586f4f043500662afafcd90601f7241.jpg",[],{"id":3420,"slug":3421,"title":2484,"dynasty":106,"author":633,"museum":166,"description":2485,"tags":3422,"thumbUrl":3423,"material":232,"size":232,"collection":232,"collections":3424,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,26,30,91,28,92,152,34,7,316,35,172,637,288,173,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":3426,"slug":3427,"title":2484,"dynasty":123,"author":3428,"museum":166,"description":3429,"tags":3430,"thumbUrl":3432,"material":232,"size":232,"collection":232,"collections":3433,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,25,26,91,92,30,34,112,35,7,169,1253,130,3431,934],"丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":3435,"slug":3436,"title":3437,"dynasty":123,"author":706,"museum":20,"description":3438,"tags":3439,"thumbUrl":3449,"material":414,"size":3450,"collection":232,"collections":3451,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},233065,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233065","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[24,28,29,348,58,30,3440,3441,34,7,2722,3442,2797,484,129,38,3443,169,170,3444,3445,3446,2796,112,3447,1012,3448],"战马","骆驼","兵器","战斗场景","士兵","将领","驮兽","草木","精细刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcccc5b4c9f0a016973cfbc4b7dcbef3e.jpg","纵55.4cm，横90.8cm",[],{"id":3453,"slug":3454,"title":3455,"dynasty":123,"author":3456,"museum":166,"description":3457,"tags":3458,"thumbUrl":3459,"material":376,"size":377,"collection":232,"collections":3460,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":49},230101,"zheng-xi-tu-hua-xin-guo-chao-zuo-230101","征西图（画芯）","郭朝祚","郭朝祚，号硕斋，生卒年月待考。",[23,24,25,26,28,29,30,58,63,933,152,7,2722,3442,2723,447,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20e6b15f1e24c8782fd41f118467348.jpg",[],{"id":3462,"slug":3463,"title":3464,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3465,"thumbUrl":3469,"material":376,"size":377,"collection":860,"collections":3470,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},226127,"the-valley-of-the-creuse-at-fresselines-1889-mo-nai-226127","The Valley of the Creuse at Fresselines, 1889",[855,854,1634,1341,3466,7,2622,3467,3468,961,1340,1338],"山谷","秋季植被","自然风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d7bdbc745d0dfd28babbe4d5ac9558.jpg",[860],{"id":3472,"slug":3473,"title":3474,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3475,"thumbUrl":3480,"material":376,"size":377,"collection":860,"collections":3481,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":49},226104,"the-railway-bridge-at-argenteuil-1874-2-mo-nai-226104","The Railway Bridge at Argenteuil, 1874 [2]",[855,854,1014,3476,2025,3477,7,557,34,128,3249,2220,961,3478,960,38,3479],"色彩并置","铁路桥","桥墩","波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a5be3f8e05a9ef299557cd04e38e64.jpg",[860],{"id":3483,"slug":3484,"title":3485,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3486,"thumbUrl":3488,"material":376,"size":377,"collection":860,"collections":3489,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":49},226086,"the-old-tree-at-the-confluence-1889-mo-nai-226086","The Old Tree at the Confluence, 1889",[855,854,959,3487,30,7,34,449,2622,960,38,3468],"短笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff92193d1b38c9b54d64327c68faff0a9.jpg",[860],{"id":3491,"slug":3492,"title":3493,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3494,"thumbUrl":3497,"material":376,"size":377,"collection":860,"collections":3498,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":49},226065,"the-creuse-dark-weather-1889-mo-nai-226065","The Creuse, Dark Weather, 1889",[854,855,7,3495,2622,447,38,3496,272,959,1181,1094],"峡谷","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca6b493853be1e1926028134f389ba0.jpg",[860],{"id":3500,"slug":3501,"title":3502,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3503,"thumbUrl":3504,"material":376,"size":377,"collection":860,"collections":3505,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":439},226064,"the-creuse-at-sunset-1889-mo-nai-226064","The Creuse at Sunset, 1889",[855,854,1634,1338,1071,1632,7,3466,2622,874,2356,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb4c7ff91244b7ffccb2fc1c2abbc741.jpg",[860],{"id":3507,"slug":3508,"title":3509,"dynasty":123,"author":587,"museum":166,"description":3510,"tags":3511,"thumbUrl":3512,"material":232,"size":232,"collection":232,"collections":3513,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,25,270,91,92,154,173,153,30,227,34,35,7,447,288,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":3515,"slug":3516,"title":3517,"dynasty":106,"author":3518,"museum":108,"description":3519,"tags":3520,"thumbUrl":3522,"material":232,"size":3523,"collection":232,"collections":3524,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},222240,"shui-cheng-tu-qian-gu-zhang-fu-222240","水程图","钱谷 张复","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n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，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。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。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[24,91,348,30,7,1845,271,3521,184,34,258,57],"城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],{"id":3526,"slug":3527,"title":3528,"dynasty":123,"author":124,"museum":166,"description":2790,"tags":3529,"thumbUrl":3532,"material":91,"size":232,"collection":232,"collections":3533,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},216833,"zhan-zheng-tong-ban-hua-12-lang-shi-ning-216833","战争铜版画-12",[2792,2762,1012,3530,30,112,34,7,63,58,2722,152,3495,3531],"战争","动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ec70d8b5648e77e5c725a112f26da7.jpg",[],{"id":3535,"slug":3536,"title":3537,"dynasty":123,"author":1238,"museum":345,"description":3018,"tags":3538,"thumbUrl":3539,"material":451,"size":232,"collection":232,"collections":3540,"showCount":138,"zanCount":48,"manualWeight":48,"mainColor":101},215017,"fang-gu-shan-shui-ce-12-wang-jian-215017","仿古山水册-12",[23,24,91,92,348,30,34,35,7,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa64987ad1423d4a67f46875822ed31d.jpg",[],{"id":3542,"slug":3543,"title":3544,"dynasty":123,"author":706,"museum":166,"description":3545,"tags":3546,"thumbUrl":3548,"material":376,"size":377,"collection":232,"collections":3549,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":101},287998,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-287998","杭城西湖江干湖墅图","此作是全景式古舆图，兼融纪实功用与文人笔意。\n上方绘就湖山胜景：层峦叠翠间林木蓊郁，烟水萦回处亭榭错落，将湖光山色的灵秀雅致晕染开来；下方铺陈城郭全貌：街巷里坊鳞次栉比，水陆驿道经纬交织，把市井烟火的繁阜日常细致铺展。\n它以山水画的写意笔法绘就地理格局，没有冰冷的测绘标尺，却以疏密线条与晕染皴擦，精准还原湖城相依的地缘肌理，既可考稽往昔城坊风貌，亦带着江南水墨的温婉意趣，是实用与审美合二为一的佳作。",[23,24,25,147,28,30,57,1676,59,34,32,7,3547],"城市风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1510598a460c8c71b4f8489d21fef0.jpg",[],{"id":3551,"slug":3552,"title":3553,"dynasty":123,"author":706,"museum":166,"description":3554,"tags":3555,"thumbUrl":3556,"material":232,"size":232,"collection":232,"collections":3557,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":101},238815,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238815","董诰律宣韶景册","这幅截取了早春烟江一角，近岸垂柳依依，柔丝拂过水面，桃苞轻绽开粉白春意。澄澈春水之上，扁舟漾开细波，舟中旅人凭舷远眺。远山以淡墨晕染，层峦如卧，晕出空濛天色。\n\n全作用笔清润秀雅，淡赭花青轻敷远山近岸，留白铺陈湖天，将“梅柳渡江春”的诗意融于尺幅间。以简淡之笔写尽春江闲寂清和，把早春江南的柔婉晕染开来，一派悠然淡远的林下风致，尽显文人画诗意留白之美，将春日江天的空濛闲适尽数铺展。",[24,91,348,92,30,623,149,1588,7,112,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec056fb517c8ac82133d478d6c8191d5.jpg",[],{"id":3559,"slug":3560,"title":3561,"dynasty":123,"author":1327,"museum":166,"description":3562,"tags":3563,"thumbUrl":3564,"material":232,"size":232,"collection":232,"collections":3565,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":101},238735,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238735","画弘历和江文通诗意图册","平远铺展的画面，将闲雅行旅与整肃江景相融。前景策马文士缓行于枯木寒林间，古木虬曲苍劲，淡墨晕染出萧散冷寂的林下意趣。中远景水寨樯桅如林，墨线劲挺勾勒出森严江防气象，与行旅的悠然形成动静对照。右侧题诗笔意清隽，诗画合璧，把文人情思与戍边壮怀悄然绾合。全作用笔秀雅清劲，水墨皴染简淡含蓄，以极简的笔墨营造出悠远沉静的意境，让林下风雅与家国襟怀相映成趣，尽显含蓄蕴藉的东方意韵。",[24,25,348,91,92,30,58,63,228,7,152,933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f036e896d713b00d4c5bbf6a31717de.jpg",[],{"id":3567,"slug":3568,"title":1651,"dynasty":123,"author":1327,"museum":166,"description":3569,"tags":3570,"thumbUrl":3571,"material":3572,"size":232,"collection":97,"collections":3573,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":101},238301,"shan-shui-ce-dong-bang-da-238301","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”。",[147,24,25,91,92,30,34,1241,447,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b6973b20a4bceb9c2b98bf95c3010c.jpg","水墨纸本",[97,45],{"id":3575,"slug":3576,"title":3093,"dynasty":123,"author":3094,"museum":166,"description":3577,"tags":3578,"thumbUrl":3579,"material":232,"size":232,"collection":232,"collections":3580,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":101},238221,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238221","此作用笔苍浑秀润，以留白晕染摹写雪意，危峰削立，银装覆于巉岩之上，淡墨烘出流岚轻烟，将隆冬溪山的清寒疏旷铺陈开来。滩头枯木虬劲，寒水无波，萧寒之气漫溢画面。\n左侧题咏书法或端雅或清劲，笔致各臻其妙，诗画相映，愈发衬出此幅素雪溪山的幽绝尘寰，尽显冬日山水空寂出尘之美，笔墨间浸透着传统文人画的雅致意趣。",[24,25,91,92,1875,610,30,112,34,37,7,169,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee7d78aaca4be0fc2d96ce97cc3872c.jpg",[],{"id":3582,"slug":3583,"title":3584,"dynasty":123,"author":3585,"museum":166,"description":3586,"tags":3587,"thumbUrl":3588,"material":232,"size":232,"collection":232,"collections":3589,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":101},237731,"wu-sheng-shi-yi-tu-ce-huang-yi-237731","无声诗意图册","黄易","此作用淡墨轻晕寒滩，枯柳虬枝错落排布，以浅淡笔墨勾勒出萧索荒寒的江岸冬色。空阔水面之上，仅以数笔极简线条点染孤舟行人，大片留白尽显江渚清寂空疏。\n右侧题诗与画境相映，将衰草寒林、闲鸥独立的诗意尽数铺展，笔墨简淡却意韵悠长。整幅画作以简驭繁，淡色浅墨晕染出清冷孤高的氛围感，将冬日水岸的寂寥之意蕴于留白浅绘间，尽显以诗入画、以画载情的文人雅致，淡而不寡，简中藏深，悠悠古意漫溢纸面。",[24,25,348,91,28,30,60,257,7,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c6f89955ac67d99ad880e3650d3f97.jpg",[],{"id":3591,"slug":3592,"title":3593,"dynasty":123,"author":481,"museum":166,"description":3594,"tags":3595,"thumbUrl":3597,"material":376,"size":377,"collection":232,"collections":3598,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":101},235230,"fang-hui-chong-shan-shui-zhou-wang-hui-235230","仿惠崇山水轴","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。”",[147,24,25,270,91,92,386,154,30,34,35,7,258,149,3596,169],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29747977d2442e5bcdd0e2cbd270fb52.jpg",[],{"id":3600,"slug":3601,"title":3602,"dynasty":123,"author":706,"museum":20,"description":3603,"tags":3604,"thumbUrl":3606,"material":133,"size":3607,"collection":232,"collections":3608,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":49},234903,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234903","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。",[24,25,348,153,28,29,92,30,3605,401,59,58,256,112,34,7,259],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711ec21c2b74711dce512776b1b5b456.jpg","25.7×33厘米",[],{"id":3610,"slug":3611,"title":3612,"dynasty":850,"author":706,"museum":166,"description":3613,"tags":3614,"thumbUrl":3618,"material":376,"size":377,"collection":232,"collections":3619,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":101},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 天狗草纸画卷-兴福寺卷","以长卷铺陈三段意趣：左侧殿廷肃穆，武士执戈列阵，殿内贵人正襟；山间翠色里，天狗隐于林麓，流露幽异怪谈氛围。中段水岸清浅，灵鹿闲踱于滩涂，晕染出静谧禅意。末段殿宇层叠，万人攒动的朝会盛景繁而不乱。设色清雅古拙，线条细腻遒劲，将幽异轶闻与俗世仪典相融，带着古朴的和风叙事质感，尽显中古绘卷的悠长余韵。",[23,26,28,29,58,3615,3616,59,60,3617,3225,288,7,128,199,30,173,1835,196,111,34],"武士","贵族","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ff943224bbd2319aac4fc855c4db1.jpg",[],{"id":3621,"slug":3622,"title":3623,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3624,"thumbUrl":3626,"material":376,"size":377,"collection":860,"collections":3627,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":49},226116,"the-seine-at-petit-gennevilliers-1872-mo-nai-226116","The Seine at Petit-Gennevilliers, 1872",[854,855,7,557,316,624,35,3334,58,3065,1184,128,961,1633,3479,3625,1182],"棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8193fd09c9f0a056d35f69a8edc3cdd1.jpg",[860],{"id":3629,"slug":3630,"title":3631,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3632,"thumbUrl":3633,"material":376,"size":377,"collection":860,"collections":3634,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":49},226103,"the-railway-bridge-at-argenteuil-1874-mo-nai-226103","The Railway Bridge at Argenteuil, 1874",[147,854,855,1014,1070,1071,3477,7,1182,34,128,2220,961,36,874,960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc123b1d63ae667c737349ac39a9cb24.jpg",[860],{"id":3636,"slug":3637,"title":3638,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3639,"thumbUrl":3646,"material":376,"size":377,"collection":860,"collections":3647,"showCount":160,"zanCount":48,"manualWeight":48,"mainColor":49},226061,"the-coal-dockers-1875-mo-nai-226061","The Coal-Dockers, 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an-shui-shan-song-xu-237797","山水扇","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[1197,24,25,91,92,30,34,112,7,149,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3a6c04c455368f424f3d5a4dc2cf09.jpg",[],{"id":3727,"slug":3728,"title":3729,"dynasty":123,"author":706,"museum":166,"description":3730,"tags":3731,"thumbUrl":3732,"material":232,"size":232,"collection":232,"collections":3733,"showCount":327,"zanCount":563,"manualWeight":48,"mainColor":101},236064,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236064","王翚仿古山水册","此作用水墨晕染江南春山朝暮之景，云雾如缕，在层叠峰峦与林麓间漫溢缠绕，将青山晕染得虚实相生，似含温润水汽。近岸苍木蓊郁，山坞中隐见村居屋舍，下方溪河蜿蜒舒展，三两扁舟轻泛烟波，野趣悠然。\n\n笔法松秀温雅，以淡墨反复皴擦晕染，不见刻露之笔，处处透着静穆淡远的意境，将江南山水的柔婉清幽与文人向往的林泉雅趣融为一体，观之如身临幽寂山野，足以涤荡尘心。",[24,25,348,91,386,92,30,1131,34,7,37,112,60,401,149,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae085406406d31950536f0b8ca2ee6f.jpg",[],{"id":3735,"slug":3736,"title":3737,"dynasty":106,"author":706,"museum":166,"description":3738,"tags":3739,"thumbUrl":3740,"material":376,"size":377,"collection":232,"collections":3741,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":101},235835,"jiang-song-shan-shui-zhou-yi-ming-235835","蒋嵩山水轴","此作用留白铺就江天悠远意境，近岸枯木斜出，疏枝缀萼，垂条摇曳含着晚来秋意，坡岸蒹葭苍苍，野趣横生。中景扁舟一叶，渔翁俯身整理渔具，身形简括却神态安然，渔网静卧船头，漾出江上生计的闲散况味。远景汀洲以淡墨晕染，烟水空濛，将江天辽阔藏在留白之中。全作以水墨浓淡分出层次，笔意纵逸简淡，未作繁复皴染，寥寥笔墨写尽江乡清寂诗意，将江湖渔隐的安闲雅致融在烟水之间，观之如临清秋江渚，幽淡闲远的意境扑面而来。",[24,25,147,270,91,30,149,150,623,7,3596,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75688a21c81c1a5d4b199bb00f6a0ed2.jpg",[],{"id":3743,"slug":3744,"title":3745,"dynasty":850,"author":851,"museum":166,"description":852,"tags":3746,"thumbUrl":3750,"material":376,"size":377,"collection":860,"collections":3751,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},226049,"the-boats-in-asnieres-1873-mo-nai-226049","The 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Leys）的画室学习。",[854,1012,4148,4149,3679,7,316,1590,4150,4151,4152,4153,4154,4155,199,961,1362,4156,1781,4157,4158,4159],"设色浓郁","古典风格","古埃及元素","金字塔","羽毛扇","乐器","陶器","水果","织物","贵族女性","装饰细节","色彩明亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a52be0152e4e8ebabfae122f8932be.jpg",[],{"id":4163,"slug":4164,"title":4165,"dynasty":850,"author":706,"museum":166,"description":3364,"tags":4166,"thumbUrl":4167,"material":376,"size":377,"collection":232,"collections":4168,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},225519,"fu-shi-hui-277-yi-ming-225519","浮世绘277",[2525,2526,28,7,33,34,288,623,58,960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551995d5f931ddf21b2f4d280d74c5c2.jpg",[],{"id":4170,"slug":4171,"title":4172,"dynasty":850,"author":706,"museum":166,"description":4173,"tags":4174,"thumbUrl":4175,"material":232,"size":232,"collection":232,"collections":4176,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":101},225361,"fu-shi-hui-117-yi-ming-225361","浮世绘117","这幅作品以木桥行旅为焦点，将赶路的旅人、驮货的马队收揽于前景，鲜活铺展出行路的日常烟火。远景以青蓝晕染水色，暖黄晕开沙洲浅山，柔化了天地边界，将旅途的奔波与水乡清寂融为一景。\n\n画面动静相映，负货的旅人神色匆匆，岸边堆放的木料、错落村舍晕开世俗暖意，远景的淡墨山林又晕开松弛悠远的氛围。雅致柔和的色调铺陈出悠然诗意，将市井行路的日常晕染出浮世独有的烟火温情。",[2525,28,2526,60,63,58,34,7,543,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f3d0ae1c9f6f01c11bdafee0de5148d.jpg",[],{"id":4178,"slug":4179,"title":4180,"dynasty":850,"author":706,"museum":166,"description":4181,"tags":4182,"thumbUrl":4184,"material":232,"size":232,"collection":232,"collections":4185,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":101},225330,"fu-shi-hui-82-yi-ming-225330","浮世绘82","清辉满月悬于淀川上空，将银白铺洒在粼粼河面。数艘商船首尾相衔缓行，舟上货篷浸在月色里，艄公的身影晕开朦胧暖意。右侧石垣城楼翼角轻翘，河畔水车静立，衬出夜的安宁。\n\n左岸田埂蜿蜒，三两行人踱步归途，村舍错落藏在浅黄的岸渚间，远山晕染成柔淡的黛色暖黄。雅致的平涂色块晕开日式和风意趣，靛蓝河面撞着暖棕舟船、土黄岸渚，将江户河川夜行的悠然烟火揉进朦胧月色，把商贾行旅的日常，晕成清冷月色下流淌的俗世诗意，是侘寂美学与市井暖意的温柔相融。",[2525,2526,28,900,59,316,7,4183,169,34,199],"水车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76593e34ec54c5e7ffffad52c96f604c.jpg",[],{"id":4187,"slug":4188,"title":4189,"dynasty":123,"author":3391,"museum":166,"description":4190,"tags":4191,"thumbUrl":4192,"material":133,"size":4193,"collection":232,"collections":4194,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":101},223259,"yan-shan-ba-jing-tu-6-lu-gou-xiao-yue-zhang-ruo-cheng-223259","燕山八景图-6-卢沟晓月","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。",[23,147,24,28,30,57,29,1993,900,152,7,34,199,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd89b5e10589bbf20bc9d7008f1318da.jpg","34.7cm，横40.3cm",[],{"id":4196,"slug":4197,"title":3378,"dynasty":123,"author":4015,"museum":20,"description":4016,"tags":4198,"thumbUrl":4201,"material":232,"size":4021,"collection":232,"collections":4202,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":101},223179,"geng-zhi-tu-ce-jiao-bing-zhen-223179",[147,24,1875,29,28,3384,2003,4199,7,60,34,173,4200],"劳作人物","农桑题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ebfd1fa96a6ef63eab95237d5354c78.jpg",[],{"id":4204,"slug":4205,"title":3378,"dynasty":123,"author":4015,"museum":20,"description":4016,"tags":4206,"thumbUrl":4207,"material":232,"size":4021,"collection":232,"collections":4208,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":101},223173,"geng-zhi-tu-ce-jiao-bing-zhen-223173",[2869,29,28,58,30,34,412,7,1108,3384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f85d5a507f9e746c76bc746f1836f8e.jpg",[],{"id":4210,"slug":4211,"title":4212,"dynasty":106,"author":4213,"museum":144,"description":4214,"tags":4215,"thumbUrl":4216,"material":414,"size":4217,"collection":232,"collections":4218,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":101},219781,"za-hua-ce-7-guo-xu-219781","杂画册-7","郭诩","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。",[24,25,91,348,92,30,7,33,34,412,112,173,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd043a0626a157e329bd01f4fab1a5787.jpg","纵28.5 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van den Bossche--Rugged Wooded River Landscape","近景苍劲古木虬曲扎根崖石，三位行人衣袂飘然，驻足低语间衬出林野幽寂。画师以疏密错落的排线铺陈光影，复刻出林木的婆娑层次与山石的粗糙肌理。\n\n中景崖岸蜿蜒衔接着河谷村落，屋舍隐桥错落嵌入氤氲山霭，将深林的荒疏与村居的烟火柔和衔接。淡笔留白晕染出空濛的郊野雾气，让山野层次愈发悠远。\n\n笔致简淡却层次丰盈，将北方乡野的清旷朴拙尽数藏于线条褶皱里，仿佛能让人踏入这幅画，静享漫游林麓的悠然隐逸之趣。",[3836,302,30,4278,4279,447,58,7,93,1072],"山林","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff910edd277d9b45df0dad6f89d46302f.jpg",[],{"id":4283,"slug":4284,"title":4285,"dynasty":850,"author":706,"museum":166,"description":4286,"tags":4287,"thumbUrl":4288,"material":376,"size":377,"collection":232,"collections":4289,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},289280,"philips-koninck-river-landscape-with-a-man-standing-yi-ming-289280","Philips Koninck--River Landscape with a Man Standing","这幅风景画作以松弛晕染的笔触，铺陈出河畔乡野的日常图景。前景里临水搭建的糙顶棚屋静立浅岸，渔人垂身站在泊船边，身影凝定，将河畔的闲散氛围晕开。棕褐的泥岸蔓延向远方，水面映着天色漾开灰柔波纹，朦胧的林木错落分布，远处的村舍隐在轻雾般的色调里，消融在淡灰的天际下。\n\n整体色调沉柔质朴，泥土的暖棕与水色的冷灰相映，带着湿润的乡野气息，把郊野清晨或薄暮的慵懒静谧尽数封存，将平淡日常晕染出悠远的诗意，仿佛能听见河畔的风掠过林梢，漫着松弛治愈的乡野烟火气。",[854,1072,7,33,271,34,58,1736,3496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c42e73892391f4d69050503328aa94.jpg",[],{"id":4291,"slug":4292,"title":4293,"dynasty":850,"author":706,"museum":166,"description":4294,"tags":4295,"thumbUrl":4297,"material":376,"size":377,"collection":232,"collections":4298,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},289234,"rembrandt-houses-by-the-water-yi-ming-289234","Rembrandt--Houses by the Water","这幅速写以松弛灵动的线条，晕染出临水村居的日常。没有繁复修饰，仅用简练顿挫的排线，勾勒出木屋的坡面肌理与错落轮廓，粗粝笔触暗合乡野建筑的质朴质感。水面只用寥寥线条轻扫倒影，与岸上屋舍形成虚实呼应。两个矮小结实的行人，为静谧画面添上烟火暖意，仿佛能听见水畔的闲谈与水波轻响。\n\n画作以最克制的笔触，将乡野水畔的松弛安宁定格，带着速写独有的鲜活随性，把水乡日常的恬淡氛围悄然留存，粗朴间藏着对平凡景致的细腻捕捉。",[3836,4296,1339,271,7,33,58],"速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d22f8908c9f19014f1cf5f08e84a5db.jpg",[],{"id":4300,"slug":4301,"title":4302,"dynasty":850,"author":706,"museum":166,"description":4303,"tags":4304,"thumbUrl":4307,"material":376,"size":377,"collection":232,"collections":4308,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},289096,"jean-honore-fragonard-riverside-village-dominated-yi-ming-289096","Jean Honoré Fragonard--Riverside Village Dominated","这幅素描以柔和的明暗层次晕开河畔村落的日常。前景水岸芦苇轻摇，小舟静泊，带着渔夫归家的松弛烟火气。中景的茅草村舍朴拙错落，排线勾勒出墙面与屋顶的岁月斑驳，葱郁林木以朦胧笔触掩映其间，柔化了屋舍硬朗的轮廓。\n\n远景塔楼隐在薄雾里，晕开朦胧的悠远氛围感。没有浓烈色彩，仅以深浅织就松弛韵致，将乡野河畔的恬淡安宁揉进朦胧天色，凝固住旧时光里沉静又温柔的乡野诗意。",[3836,1339,4305,93,4306,3067,34,7,33,58],"河畔","茅草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f07f7fa346032291ee2617b8ff0ba70.jpg",[],{"id":4310,"slug":4311,"title":4312,"dynasty":850,"author":706,"museum":166,"description":4313,"tags":4314,"thumbUrl":4320,"material":376,"size":377,"collection":232,"collections":4321,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":439},289094,"jean-jacques-lagrene-e-landscape-with-a-scene-from-fe-nelon-s-yi-ming-289094","Jean Jacques Lagrenée--Landscape with a Scene from Fénelon's","月夜郊野晕染在幽蓝底色之上，淡墨铺就林影与云絮，朦胧柔润。滩涂弃舟静卧，和林间翩然舞动的身影形成静动对冲。远处古堡隐在月色云霭间，将郊野实景揉进幻梦叙事里。\n\n灵动群像打破夜色沉郁，带着古典牧歌式的松弛浪漫，让山野月夜化作神话逸事的舞台。光影借月色铺陈出幽谧氛围，晕染笔触将自然与人文叙事相融，在静谧夜色与欢愉群像的碰撞中，晕开复古诗意，把浪漫遐想藏进朦胧底色里。",[854,4315,3068,7,149,58,4316,4317,4318,4319],"月夜","舞蹈","古典风景","云彩","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405126ff43080dc98027c73148a0bcc6.jpg",[],{"id":4323,"slug":4324,"title":4325,"dynasty":850,"author":706,"museum":166,"description":4326,"tags":4327,"thumbUrl":4331,"material":376,"size":377,"collection":232,"collections":4332,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},288783,"pieter-cornelisz-kunst-allegorical-figure-faith-yi-ming-288783","Pieter Cornelisz Kunst--Allegorical Figure (Faith)","###\n这幅钢笔版画以细腻线条刻画出信仰的化身，华冠层袍缀满珠络蕾丝，每一处褶皱都尽显精工雅致。女子左手紧握苦像长杆，圣光自基督身形间淌落，右手抬起似在颂赞虔心。脚下流云将她托于尘世之上，远景河畔小城炊烟轻绕、舟楫漾波，平和俗世恰好衬出信仰的超然澄澈。\n\n排线铺陈出明暗层次，精准区分衣料的柔润与饰件的冷硬，带着北方文艺复兴版画的典型特质，将信仰的庄严肃穆融于写实笔触间，静静诉说信仰对俗世的庇佑与指引。",[3922,2099,302,4328,4329,4330,2220,1845,7,1182],"基督教","十字架","耶稣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8567fac4f1d9db10758aba587352404c.jpg",[],{"id":4334,"slug":4335,"title":4336,"dynasty":123,"author":706,"museum":166,"description":4337,"tags":4338,"thumbUrl":4340,"material":376,"size":377,"collection":232,"collections":4341,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":49},281504,"ri-ben-zhi-rong-shan-shui-tu-zhou-yi-ming-281504","日本织绒山水图轴","这幅织绒山水取峡谷秋景，两侧危崖壁立，苍松扎根石罅，丹黄秋叶晕染出暖融融的秋意，与冷灰色岩崖形成鲜明冷暖对冲。谷底湍流击石，浪涛翻涌，远处峰峦隐在烟霭之中，虚实相生。\n\n织绒工艺精妙复刻山石嶙峋肌理、林木深浅层次，将东方山水的空寂禅意融入绒线经纬之间。兼具日式山水的幽寂诗意与宋元山水的雄浑气度，仿佛能耳闻涧水轰鸣、山风穿林动叶，把秋日溪山的辽远苍茫，定格成触手可及的温润质感。",[270,28,30,1264,3495,7,258,288,290,447,4339],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8a69733a1c2285f4fb9e4850df1d53.jpg",[],{"id":4343,"slug":4344,"title":4345,"dynasty":123,"author":706,"museum":166,"description":4346,"tags":4347,"thumbUrl":4349,"material":376,"size":377,"collection":232,"collections":4350,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":439},250603,"song-hua-jiang-shi-shan-shui-ren-wu-wen-cha-ping-yi-ming-250603","松花江石山水人物纹插屏","俏色施艺，以石为缣，浅白素净为底，取石上皮色雕琢图景。近岸芦丛苍苍，渔家二人凭栏闲坐，扁舟系于水湄，远峦晕着晚色，归雁掠过长天，将江南渔隐的安闲意趣凝于石间。边框回纹周正沉静，座身浮刻缠枝花卉，足端作兽首衔环，古雅端方。刀工细腻入微，将野趣与雅致相融，把石材质感与山水闲情相合，尽显文房清玩的悠然意蕴，是巧用天工的精妙之作。",[4348,3943,30,58,258,7,3447],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc91a53a62f3355d652dc19d7707c266.jpg",[],{"id":4352,"slug":4353,"title":3806,"dynasty":123,"author":4354,"museum":166,"description":4355,"tags":4356,"thumbUrl":4357,"material":232,"size":232,"collection":232,"collections":4358,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},239306,"fang-gu-shan-shui-ce-wu-lin-239306","吴麐","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[24,91,92,348,30,288,112,412,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ceeadfbc91ee1a7c7422647cfe58ad.jpg",[],{"id":4360,"slug":4361,"title":1651,"dynasty":123,"author":1327,"museum":166,"description":3569,"tags":4362,"thumbUrl":4363,"material":376,"size":377,"collection":232,"collections":4364,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238700,"shan-shui-ce-dong-bang-da-238700",[24,91,92,154,30,152,34,35,7,169,170,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6765f4651fe2858f71973b491af4747.jpg",[],{"id":4366,"slug":4367,"title":3958,"dynasty":123,"author":706,"museum":166,"description":4368,"tags":4369,"thumbUrl":4370,"material":232,"size":232,"collection":232,"collections":4371,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238652,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238652","以全景式构图铺展平叛战事，山峦层叠间林木苍莽葱郁，左畔坚壁临水矗立，山壑之中兵马云集。人马或整队开拔、或列阵待命，衣甲兵器细节皆清晰逼真，生动还原出平叛行军的肃穆阵仗。\n\n左上御题诗文与画面呼应，兼具中式山水的悠远意境与西洋铜版技法的写实质感，将征伐行军的雄浑气势融于山水之间，以画笔复刻战事实景，御题点明赫赫军功，是纪实叙事与宫廷审美的绝妙结合，尽显纪功图特有的庄重厚重。",[2869,2526,302,29,58,63,30,34,152,7,1676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd02a0b74e449f03dccb578d0b806acb.jpg",[],{"id":4373,"slug":4374,"title":3706,"dynasty":123,"author":706,"museum":166,"description":4375,"tags":4376,"thumbUrl":4377,"material":376,"size":377,"collection":232,"collections":4378,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238619,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238619","全景式构图铺展战事全貌，左侧清军整肃列阵，将官立马调度，部伍森严规整；右侧短兵相接，人马错杂扭打，喊杀之气似透纸而出。苍劲山石为幕，将运筹帷幄的沉稳与喋血搏杀的悍烈形成强烈对冲。\n刻绘线条精细入微，山峦皴擦写实，人马姿态纤毫毕现，既借中式山水营造出宏大意境，又以西洋铜版技法勾勒出战场细节，写实再现征伐平叛的肃杀与雄浑，定格冷兵战事的张力，将平叛武功的威赫与战场残酷融为一体。",[29,91,348,92,30,58,63,112,34,7,152,1458,3444,3442,3530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa79202de1deed1a2e8b1f9aff06432e0.jpg",[],{"id":4380,"slug":4381,"title":3706,"dynasty":123,"author":706,"museum":166,"description":4382,"tags":4383,"thumbUrl":4384,"material":232,"size":232,"collection":232,"collections":4385,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238592,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238592","这幅作品以全景构图铺展山地战场，层叠山峦间碉楼错落排布，将川西要塞的险峻地势尽致展现。线条精细冷峻，如实复刻战事实景：清军将士攀崖仰攻，碉楼内守军严阵对峙，河谷旁营寨规整罗列，每一处人物动作皆清晰分明，把攻坚厮杀的紧张感凝于纸面。整体笔触写实克制，带着纪实铜版画的独特质感，既还原了平叛战事的宏大致酷，也兼具珍贵的历史纪实价值，让百年前的战地烽烟历历在目。",[24,29,92,57,91,348,30,58,112,3897,129,7,34,2722,2797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc70c97c8c3be3a707c50de4b9874fc6c.jpg",[],{"id":4387,"slug":4388,"title":4389,"dynasty":123,"author":4390,"museum":166,"description":4391,"tags":4392,"thumbUrl":4393,"material":376,"size":377,"collection":232,"collections":4394,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238502,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238502","巡行纪程诗画册","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,25,348,28,30,199,34,169,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcda6483021fc9f674517d0b1e4cc50d1.jpg",[],{"id":4396,"slug":4397,"title":4398,"dynasty":123,"author":3379,"museum":166,"description":3380,"tags":4399,"thumbUrl":4402,"material":376,"size":377,"collection":232,"collections":4403,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238461,"mian-yi-mian-hua-tu-ce-mian-yi-238461","绵亿棉花图册",[24,25,348,28,29,58,61,34,35,4400,623,7,4029,4401],"农耕劳作","田间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff057bad01e43e5b3294d07a38b8ddb16.jpg",[],{"id":4405,"slug":4406,"title":3093,"dynasty":123,"author":3094,"museum":166,"description":4407,"tags":4408,"thumbUrl":4409,"material":232,"size":232,"collection":232,"collections":4410,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238222,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238222","此作用笔秀润清和，以平远之法铺展江南春景。浅岸垂柳依依，村庐隐于林间，远山衔着薄霭晕染开来，留白处漾着空濛水汽，将早春的温润柔婉藏于淡色晕染中。笔致简淡温婉，不着繁复皴擦，却将水村澹澹闲意尽数铺陈。诗画相映，文气悠悠，虚实之间晕开春日独有的沉静悠然，把文人寄情林泉的雅趣融在浅淡设色与疏朗构图中，尽显雅致恬然的山水意境。",[24,25,173,28,30,92,386,348,34,35,7,58,1253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30f4f2898d90e6932147057c1ec0a6c.jpg",[],{"id":4412,"slug":4413,"title":1651,"dynasty":123,"author":4414,"museum":166,"description":4415,"tags":4416,"thumbUrl":4417,"material":232,"size":232,"collection":232,"collections":4418,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238184,"shan-shui-ce-song-jun-ye-238184","宋骏业","此作用浅绛设色描摹林壑晓景，以披麻皴勾勒山峦肌理，笔墨温雅秀润。平林迤逦，溪岸蜿蜒，茅舍隐于茂林之下，远山含烟晕染出空濛气韵。配页行书清隽疏朗，诗画呼应，将晨间林麓的清逸氛围铺陈开来。山径通幽间，似能晓风拂面、啼鸟穿林，满卷皆为山居静穆清和之趣，仿若踏入空寂林居，揽尽晨岚氤氲的林下雅意，尽显传统山水的写意悠然。",[147,24,25,28,92,173,154,30,34,35,7,169,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce84782924ad29edac652b3aeeb5e3f.jpg",[],{"id":4420,"slug":4421,"title":1651,"dynasty":123,"author":4414,"museum":166,"description":4422,"tags":4423,"thumbUrl":4424,"material":376,"size":377,"collection":232,"collections":4425,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238181,"shan-shui-ce-song-jun-ye-238181","字声求，号坚斋，一号坚甫，江苏长洲(今蘇州）人。官兵部左侍郎。善书画，笃好山水，因绘南巡图聘王翚于家而画学大进。",[24,25,147,28,91,30,92,228,35,7,227,1446,1253,258,173,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad36d1dd115f3e7cb762e4658eec10d5.jpg",[],{"id":4427,"slug":4428,"title":1651,"dynasty":123,"author":4414,"museum":166,"description":4429,"tags":4430,"thumbUrl":4431,"material":232,"size":232,"collection":232,"collections":4432,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238177,"shan-shui-ce-song-jun-ye-238177","字声求，号坚甫，江苏常熟人，一作江苏苏州人。累官至兵部右侍郎。善书画，笃好山水，因聘王翚于家而画学大进。",[24,25,28,30,154,173,92,227,542,34,59,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d39bd7a29d4999b972a583ae0ef7a64.jpg",[],{"id":4434,"slug":4435,"title":1651,"dynasty":123,"author":4436,"museum":166,"description":4437,"tags":4438,"thumbUrl":4439,"material":376,"size":377,"collection":232,"collections":4440,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},238086,"shan-shui-ce-lu-yao-238086","陆耀","陆耀，字朗甫，一字朗夫，号青来，吴县人，工诗文，兼长书、画，精分隶书，水墨山水，落落有自家风。",[24,91,348,92,154,30,112,34,35,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf6a1fd19935d3decdb47677fe89c0f.jpg",[],{"id":4442,"slug":4443,"title":4444,"dynasty":123,"author":706,"museum":166,"description":4445,"tags":4446,"thumbUrl":4448,"material":232,"size":4449,"collection":232,"collections":4450,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},233111,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233111","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[302,2526,30,58,63,7,34,447,2722,4447,3844,730],"战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd54f8e81e6dad77e117084c00f209da.jpg","87.3×50cm",[],{"id":4452,"slug":4453,"title":4444,"dynasty":123,"author":706,"museum":166,"description":4445,"tags":4454,"thumbUrl":4457,"material":232,"size":4449,"collection":232,"collections":4458,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},233102,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233102",[2762,1012,4240,4447,4231,129,2722,58,3440,152,34,7,933,3442,2797,3887,3444,4455,4456],"营垒","开阔地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecd50dba7777a8ece41b0a812932396.jpg",[],{"id":4460,"slug":4461,"title":4444,"dynasty":123,"author":706,"museum":166,"description":4445,"tags":4462,"thumbUrl":4463,"material":232,"size":4449,"collection":232,"collections":4464,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},233101,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233101",[123,29,92,1012,58,63,30,3442,2795,7,34,447,131,2723,3444,3530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42789c6dd2d563dcf85652832e40824f.jpg",[],{"id":4466,"slug":4467,"title":4468,"dynasty":123,"author":706,"museum":20,"description":4469,"tags":4470,"thumbUrl":4471,"material":362,"size":4472,"collection":232,"collections":4473,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},233049,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233049","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[24,25,28,29,58,63,316,30,7,152,933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fc4d78ac787b3c0e3cb6d6612f123c.jpg","长55.6厘米，宽91.1厘米",[],{"id":4475,"slug":4476,"title":4477,"dynasty":850,"author":4478,"museum":166,"description":4479,"tags":4480,"thumbUrl":4482,"material":376,"size":377,"collection":232,"collections":4483,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":49},231999,"semiramis-building-babylon-musee-d-orsay-france-de-jia-231999","Semiramis Building Babylon - - Musee d'Orsay (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[854,28,58,63,199,59,7,4481,3678],"古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fed00243ab5415131179a278a37dacb.jpg",[],{"id":4485,"slug":4486,"title":4487,"dynasty":850,"author":706,"museum":166,"description":4488,"tags":4489,"thumbUrl":4490,"material":376,"size":377,"collection":232,"collections":4491,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},231811,"ri-guang-shan-tu-xia-juan-yi-ming-231811","日光山图下卷","此作为全景纪行山水，以鸟瞰视角铺展河岳胜状。蜿蜒江流以流畅往复的曲线摹写水势回旋奔涌，浪纹层叠尽显烟波灵动。两岸峰石以淡墨勾廓，青灰敷色晕出山峦肌理，苍松错落植于崖畔坡地，笔致简雅秀润。\n\n整作兼具纪实性与抒情意趣，既摹绘出河湾萦回的实景地貌，又以浅设色晕染出林泉幽深的雅境，江流回转间尽显造化灵韵，淡彩轻岚晕开静穆清旷的古意，暗含悠远超脱的林下襟怀。",[23,24,25,26,28,30,7,152,288,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0953a25ed12ed128374d5b5a49110ac6.jpg",[],{"id":4493,"slug":4494,"title":4495,"dynasty":850,"author":706,"museum":166,"description":4496,"tags":4497,"thumbUrl":4499,"material":376,"size":377,"collection":232,"collections":4500,"showCount":563,"zanCount":48,"manualWeight":48,"mainColor":101},231727,"lian-cang-shi-dai-tian-gou-cao-zhi-ci-shu-yan-li-si-juan-yi-ming-231727","镰仓时代 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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。",[2869,4099,4609,30,58,112,34,7],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5743a68fef4fd3d8ce6cda2fe1c3074.jpg",[],{"id":4613,"slug":4614,"title":4615,"dynasty":123,"author":706,"museum":166,"description":4616,"tags":4617,"thumbUrl":4621,"material":376,"size":377,"collection":232,"collections":4622,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},250969,"qing-yu-fu-diao-bian-fu-kui-long-bian-rong-jing-yi-ming-250969","青玉浮雕蝙蝠夔龙边容镜","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[4348,4618,28,30,58,34,199,316,7,4619,4620],"浮雕","蝙蝠","夔龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bee0fa3c0c2e3f4a02d5bf8b93be53.jpg",[],{"id":4624,"slug":4625,"title":4626,"dynasty":123,"author":706,"museum":166,"description":4094,"tags":4627,"thumbUrl":4634,"material":376,"size":377,"collection":232,"collections":4635,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},250034,"hua-fa-lang-kai-guang-xi-yang-shan-shui-ren-wu-tu-shuang-er-ping-yi-ming-250034","画珐琅开光西洋山水人物图双耳瓶",[4628,4097,28,29,4629,4630,4631,30,58,59,34,7,128,4632,4633],"画珐琅","西洋风格","琺瑯器","双耳瓶","西洋建筑","西洋人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f9c54460e6ce3c2de8eef64296ca00.jpg",[],{"id":4637,"slug":4638,"title":3958,"dynasty":123,"author":706,"museum":166,"description":4639,"tags":4640,"thumbUrl":4641,"material":232,"size":232,"collection":232,"collections":4642,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":101},238657,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238657","以全景构图铺展整场战事，左侧阵列齐整的兵马摧锋直前，山麓间短兵相接，奔逃的溃军匍匐在泥泞沟壑，厮杀的张力扑面而来。村寨浓烟翻涌，火光吞噬屋舍，兵燹过后的残破尽显眼前。左侧题满细密小字，以文字补叙战事经纬，将视觉冲击与纪实叙事相融。\n全作用劲挺刚硬的铁线白描勾勒山石甲胄，线条精准刻画出战场的肃杀冷冽，不着一色却自带冷峻压迫感，将平叛战事的残酷与浩荡全然铺陈，是兼备纪实性与艺术性的战争叙事佳作。",[24,25,147,348,29,302,91,58,63,30,34,199,112,7,2797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968a66be7cec2d0f554f352127f1b16d.jpg",[],{"id":4644,"slug":4645,"title":3958,"dynasty":123,"author":706,"museum":166,"description":4646,"tags":4647,"thumbUrl":4648,"material":232,"size":232,"collection":232,"collections":4649,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238656,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238656","全景式铺展崇山峻岭，将山地战事的行军、攻坚排布于险隘之间。左侧官兵沿栈道攀援突进，右侧火炮摧破土寨，浓烟翻卷腾涌，动静张力尽显。\n\n线条刚劲利落，精准刻画出崖壁陡绝、兵卒悍锐，将山地作战的艰险尽数铺陈。题诗配文呼应画面叙事，以写实笔法复刻征剿战况，兼具纪实性与艺术性，既是纪功绘卷，也尽显战事版画的表现力，还原出平乱战事的紧迫悍勇。",[24,25,29,92,28,30,58,63,34,7,822,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91218a070f41f03319c4b91351a1910d.jpg",[],{"id":4651,"slug":4652,"title":3958,"dynasty":123,"author":706,"museum":166,"description":4653,"tags":4654,"thumbUrl":4655,"material":232,"size":232,"collection":232,"collections":4656,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":101},238654,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238654","画面以全景式铺展山地战事，层叠峰峦间兵戈相向，水陆两处皆见厮杀奔突。硬挺细密的铜版线条，冷峻刻画出山石皴理与战火硝烟，将平叛战地的险峻尽数还原。\n\n山林间阵列严整的兵卒与对手短兵相接，奔逃、格斗、阻截的细节生动冷峻，动静交织间尽显战役的肃杀紧张。右上角御笔题诗点明战事经纬，令画作兼具纪实纪功的双重属性，以克制写实的雕刻技法，将山地征伐的残酷与行军规制融于一图，是纪实战图里极具代表性的写实佳作。",[24,29,92,91,348,30,58,63,112,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b98e701e6d2e7644a41ed31a283cf5a.jpg",[],{"id":4658,"slug":4659,"title":3958,"dynasty":123,"author":706,"museum":166,"description":4660,"tags":4661,"thumbUrl":4662,"material":232,"size":232,"collection":232,"collections":4663,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":101},238653,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238653","这幅铜版画以全景式铺陈开山地平叛战况，嶙峋喀斯特峰峦间，山道上兵卒衔枚疾进，谷地硝烟翻涌，还原攻坚厮杀的肃杀氛围。右侧主将勒马整军，阵列严整尽显军纪森严。\n\n创作者以精细线条勾勒山石肌理，明暗晕染塑造出层叠山势的立体感，将战场的紧迫张力尽显纸面。右上角御题诗文呼应战事功过，使得作品兼具纪实征战场面的档案价值，又以中西融合的版画技法，描摹出山地征伐的壮阔图景，写实复刻出平苗一役的激烈瞬间，肃穆且极具纪功图的厚重质感。",[24,25,348,302,91,29,92,30,58,63,227,7,34,447,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099552331f1937403457da9040e47880.jpg",[],{"id":4665,"slug":4666,"title":3958,"dynasty":123,"author":706,"museum":166,"description":4667,"tags":4668,"thumbUrl":4669,"material":232,"size":232,"collection":232,"collections":4670,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":101},238650,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238650","全景式构图铺展平叛战事，山峦河谷间清军分路挺进，炮火硝烟腾起于密林隘口，河桥处短兵相接人马奔突，远景大营与层叠山境烘托出磅礴战事规模。作者以精细线刻技法，复刻战地肃杀张力，山石林木皴刻入微，将士甲胄阵型排布分毫毕现，将平叛战事的宏阔与惨烈凝于尺幅。画作融合纪实性与艺术表现力，以西式铜版画写实笔法，将这场平叛的铁血征程跃然纸上，尽显战争纪实版画的独特质感。",[29,302,92,58,30,34,7,36,152,2516,199,37,2722,2797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9741823415bd26d59844915cd4218c3.jpg",[],{"id":4672,"slug":4673,"title":3958,"dynasty":123,"author":706,"museum":166,"description":4674,"tags":4675,"thumbUrl":4676,"material":232,"size":232,"collection":232,"collections":4677,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":101},238648,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238648","全景式构图铺展浩荡战事，远山层叠河谷蜿蜒，将清军列阵行军、攻坚平叛的场景错落排布。左侧题笺点明战事背景，画面前方将领挥斥策马，甲士阵列严整肃然，右侧战场烽烟翻涌，短兵相接的厮杀仿佛声闻于耳。画作以精细线描勾勒出山峦苍劲质感，将士甲胄衣袂细节分毫毕现，既兼具传统界画的工致写实，又糅合西洋铜版画明暗层次，精准还原平乱战事的宏大意象，将行伍整肃、攻坚激烈与山野雄浑融为一体，笔墨间承载纪实叙事的厚重，尽显清代战史图绘的严谨表现力。",[24,29,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山石相融，藏着尘外清宁。远处峰峦渐淡，留白若云雾轻笼，拓开悠远意境。笔意清疏却含匠心，水面波纹灵动，山间路径隐约，处处透着山水的静谧深邃。仿佛能闻涧水潺潺，听松风拂过，引人踏入那片远离喧嚣的幽境，感受自然与人文交织的恬淡之趣。整幅画以简驭繁，将山水的秀逸与隐逸的情怀凝于笔端，尽显传统山水的空灵之美。",[302,30,112,7,60,401,34,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6f7224d0a6ff605b99985586fa52ba.jpg",[],{"id":5093,"slug":5094,"title":5095,"dynasty":123,"author":706,"museum":166,"description":5096,"tags":5097,"thumbUrl":5098,"material":156,"size":232,"collection":232,"collections":5099,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":101},215583,"tian-xia-ming-shan-tu-41-yi-ming-215583","天下名山图-41","山峦层叠如浪涌，线条勾勒出嶙峋肌理，似能触到山石的苍劲质感。左畔碧水蜿蜒，如丝带绕峰，柔化了峰岭的刚硬。山间文字与丘壑错落相衬，既有山川壮阔的气象，又藏着文人式的雅致。远近虚实间，远峰淡隐如墨晕，近山浑厚似可攀，天地间的雄奇与灵秀，便静静铺展在这一纸之上。笔墨间藏着对山河的敬畏，也晕染着古典山水的诗意，将自然之美与人文意趣融于方寸，读来如临烟霞深处。",[24,25,348,302,92,30,484,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e321d787b99495ce5770508dfac310a.jpg",[],{"id":5101,"slug":5102,"title":5103,"dynasty":123,"author":706,"museum":166,"description":5104,"tags":5105,"thumbUrl":5106,"material":156,"size":232,"collection":232,"collections":5107,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":101},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。",[24,25,348,302,91,92,30,227,542,34,1525,149,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efab62252911f9966f29ff4a9d04f23.jpg",[],{"id":5109,"slug":5110,"title":5111,"dynasty":123,"author":706,"museum":166,"description":5112,"tags":5113,"thumbUrl":5115,"material":156,"size":232,"collection":232,"collections":5116,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":101},215574,"tian-xia-ming-shan-tu-52-yi-ming-215574","天下名山图-52","层峦叠嶂间，流水如带蜿蜒穿引，将远近景致连缀成卷。左侧峰岭耸峙，松竹点缀其间，添几分清逸；岩麓深处藏幽洞，洞内屋宇隐约，似有隐者栖居。右侧山巅塔影孤耸，与云气相融；岸畔亭台错落，碧波轻漾中倒映着树影天光。笔墨简练却骨力暗藏，山石勾勒用线刚劲，草木点染显生机。小径隐于林莽，炊烟袅袅于村舍，动静相宜间，尽显名山之幽秀灵韵——仿佛能闻松涛与溪水潺潺，观云气漫过峰尖，引人沉醉于这清寂淡远的山水意境里。每一处细节皆藏巧思，于简淡中见深致，道尽自然与人文相融的妙趣。",[24,25,91,92,30,227,5064,34,7,199,401,1525,822,5114,1677],"岩洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb099a48a91f18deedfb4e9d75466c7a8.jpg",[],1777535698351]