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，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按图上作者题款：“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。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[73,24,99,160,161,162,163,164,165,54,166,148,167,168,169,7,170,171,57,56,30],"文人画","青绿设色","茅屋","修竹","坡石","溪水","林木","水渚","仙居","静谧","幽冷","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纸本","纵48厘米，横28厘米",[],25,{"id":178,"slug":179,"title":180,"dynasty":18,"author":181,"museum":20,"description":182,"tags":183,"thumbUrl":188,"material":34,"size":35,"collection":36,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":40},288546,"dong-jing-shan-shui-tu-li-gong-nian-288546","冬景山水图","李公年","李公年，男，画家，[宋]尝为提点江浙刑狱公事。善画山水，运笔立意，风格不下前辈。写四时之图，甚有水云余思，至于写朝暮景趣，作长江日出，疎林晚照，真若物像出没于空旷有无之间。作有《宣和画谱》.",[73,23,24,50,51,25,26,184,27,134,185,186,7,187],"冬景","远山","雾霭","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73e7ea30fdbb06234008179e1525049.jpg",[],12,{"id":192,"slug":193,"title":194,"dynasty":94,"author":195,"museum":20,"description":196,"tags":197,"thumbUrl":201,"material":34,"size":35,"collection":36,"collections":202,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":65},288135,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-288135","仿倪云林古木图","查士标","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[73,24,25,26,51,198,27,78,185,199,200,56,57,7],"临摹","平水","孤木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76a5128c80eb99da06818edf285693f.jpg",[],{"id":204,"slug":205,"title":206,"dynasty":45,"author":207,"museum":20,"description":208,"tags":209,"thumbUrl":216,"material":36,"size":36,"collection":36,"collections":217,"showCount":218,"zanCount":64,"manualWeight":11,"mainColor":40},228236,"xue-shan-yun-lv-tu-yi-ming-228236","雪山运驴图","佚名","整幅画作以萧寒冬日为底色，虬劲枯木扎根嶙峋坡石，枝干尽脱，带着凌冽的荒寒之气。淡墨晕染出山峦积雪，将冬日山野的厚重冷寂铺展开来，边角山石奇崛错落，勾勒出空阔辽远的天地。\n\n中景处的运驴队伍缓步而行，为清寂的雪野晕开一丝烟火暖意，动静相映，让冷肃山水多了几分行路意趣。笔墨苍简老辣，干笔勾勒山石肌理，淡墨铺陈积雪留白的空灵，将苍逸简淡的意趣融于其中，把冬日山野的空寂萧寒与行路的市井意趣相融，清冷中带着鲜活生气，尽显小品山水的精妙意韵，将冬日荒岭的清寒意境烘托得淋漓尽致。",[73,24,99,210,25,211,101,164,212,100,7,213,214,215],"小品画","雪山","驴","清寂","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114c3794a49fbc91897e8c3e82f12c09.jpg",[],6,1777535731604]