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创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[50,23,24,51,173,174,53,54,31,28,175,84,176,177,82,178,179,7,30,180,181],"界画","工笔","桥","建筑","庭院","长廊","古建","亭台","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],61,{"id":186,"slug":187,"title":188,"dynasty":77,"author":189,"museum":141,"description":190,"tags":191,"thumbUrl":196,"material":38,"size":197,"collection":38,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":91},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","佚名","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,53,174,173,52,54,59,31,148,84,28,177,192,193,82,176,7,194,195],"石阶","栏杆","行乐","宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],58,{"id":201,"slug":202,"title":203,"dynasty":18,"author":140,"museum":47,"description":204,"tags":205,"thumbUrl":206,"material":207,"size":208,"collection":69,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":72},219183,"han-yan-ji-xue-tu-yan-su-219183","寒岩积雪图","此画面上重岩积雪，亭戴雪帽，老树寒疏，山村洁白，溪水冰结，孤舟停泊，却在旁边水岸两旁架有一座木桥，桥上有策杖、挑担二人，给雪景去掉几分寒意，而带来了几分情趣，虽是一派万丈雪崖、冰冻二尺的寒冷景象，但也是着浓厚的生活情调。鉴藏玺印有：“乾隆御览之宝”、“乾隆鉴赏”、五玺全、“宝笈三编”、“宣统鉴赏”、“宣统御览之宝”、“无逸斋精鉴玺”。收传印记有：“天籁阁”、“退密”、“项墨林鉴赏章”、“项墨林父秘笈之印”、“项子京家收藏”、“六艺之圃”、“净因庵主”、“太符真赏”、“李继泉真赏章”、“长水李氏珍藏”。",[50,23,24,51,54,26,27,144,7,146,147,148,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","纸本,水墨","136.3x64",[69],54,{"id":212,"slug":213,"title":214,"dynasty":18,"author":215,"museum":47,"description":216,"tags":217,"thumbUrl":220,"material":132,"size":221,"collection":69,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":91},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","燕文贵","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[50,23,24,51,218,26,53,27,54,147,127,7,84,28,219,30,82],"扇面","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[69,67],53,{"id":225,"slug":226,"title":227,"dynasty":157,"author":228,"museum":141,"description":229,"tags":230,"thumbUrl":235,"material":236,"size":237,"collection":38,"collections":238,"showCount":239,"zanCount":118,"manualWeight":11,"mainColor":72},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[24,52,26,53,54,27,82,84,7,231,180,59,232,147,233,234,30,128],"瀑布","马","枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","纸本设色","97.4×41.2cm",[],43,{"id":241,"slug":242,"title":243,"dynasty":77,"author":244,"museum":20,"description":245,"tags":246,"thumbUrl":248,"material":38,"size":38,"collection":38,"collections":249,"showCount":250,"zanCount":118,"manualWeight":11,"mainColor":91},234822,"li-cheng-shan-shui-ye-wang-jian-234822","李成山水页","王鉴","王鉴(1598年-1677年)，明末清初画家，”四王”之一。\n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”。",[24,26,53,247,27,54,58,7,82,146,147,148,85],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3dbf852e2a5465f18929e02cd4cae21.jpg",[],42,{"id":252,"slug":253,"title":254,"dynasty":157,"author":255,"museum":141,"description":256,"tags":257,"thumbUrl":265,"material":132,"size":266,"collection":69,"collections":267,"showCount":250,"zanCount":118,"manualWeight":11,"mainColor":72},218494,"xue-gang-du-guan-tu-ma-wan-218494","雪岗度关图","马琬","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[50,23,24,51,52,258,26,259,7,260,261,262,263,264],"雪景山水","崇山峻岭","丛树","林木","水榭","长松","荒寒萧索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bfe95f54c31280a2923ea9e42867e1.jpg","125.4厘米，横：57.2厘米",[69],{"id":269,"slug":270,"title":271,"dynasty":272,"author":273,"museum":20,"description":274,"tags":275,"thumbUrl":276,"material":103,"size":37,"collection":69,"collections":277,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":72},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 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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。",[50,24,25,52,27,53,54,82,57,58,114,7,84,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[69],38,{"id":280,"slug":281,"title":282,"dynasty":283,"author":284,"museum":141,"description":285,"tags":286,"thumbUrl":288,"material":132,"size":289,"collection":69,"collections":290,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":72},219304,"xue-jing-zhou-lan-ying-219304","雪景轴","明","蓝瑛","蓝瑛（西元一五八五－一六六四年以后）字田叔，号蝶叟，杭州钱塘人。善山水，初学元黄公望，并遍临唐宋元各家，构图精整，傅色明艳，晚年作品笔墨苍劲老辣，傅色趋于雅淡。他也擅长花竹、人物画，是浙派后期的重要画家。此幅画溪山积雪，其间点缀楼宇、蓬舟、危桥、栈道和行人。山石纯用短斫，兼以烘染。用笔率直老健，作于一六五九年，是七十五岁的力作。",[24,51,52,53,54,146,147,127,59,287,82,27,234,148,7],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9284fc8674ac05bd3e157f3659003486.jpg","268x68.8",[69],{"id":292,"slug":293,"title":294,"dynasty":283,"author":295,"museum":20,"description":296,"tags":297,"thumbUrl":299,"material":38,"size":38,"collection":38,"collections":300,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":72},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","谢时臣","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[24,51,52,26,27,54,28,57,114,59,58,82,128,298,7],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],37,{"id":303,"slug":304,"title":305,"dynasty":306,"author":307,"museum":20,"description":308,"tags":309,"thumbUrl":311,"material":38,"size":38,"collection":38,"collections":312,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":72},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","唐","王维","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[50,23,24,51,310,54,53,27,29,82,58,7,83],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":314,"slug":315,"title":316,"dynasty":157,"author":317,"museum":141,"description":318,"tags":319,"thumbUrl":321,"material":322,"size":323,"collection":69,"collections":324,"showCount":301,"zanCount":118,"manualWeight":11,"mainColor":72},221792,"xue-shan-tu-cao-zhi-bai-221792","雪山图","曹知白","《雪山图》卷描绘寒冬江岸景色，是沈周山水墨画的代表作。\n曲折的寒江两岸，岩崖逶迤，山峦延绵，老树槎砑，苍松傲然。\n江岸树石间点缀着紧闭门窗的房舍，静守孤舟的渔翁和身着寒装的行人，给画面增添了寒荒萧瑟的氛围。\n山石以老硬简率的笔法勾皴，以秃笔浓墨点苔，形成浓淡交错、疏密有致的韵律。\n这幅画构图宏阔，笔致挺劲凝炼，墨彩豪放雄逸，形成浑厚之势。",[50,24,26,54,52,27,29,83,58,30,82,7,320],"孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27e97755cc21cee6f7621a139816eab.jpg","绢本墨笔","纵97.1厘米，横55.3厘米",[69,70],{"id":326,"slug":327,"title":328,"dynasty":18,"author":19,"museum":47,"description":329,"tags":330,"thumbUrl":332,"material":333,"size":334,"collection":38,"collections":335,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":91},221384,"ming-hua-lin-lang-ce-qun-feng-xue-ji-fan-kuan-221384","名画琳瑯册－群峰雪霁","此作写崇山积雪，山脚并点缀密林、楼观、舟楫等。倦色黯黑，但不失古雅苍润。画中的主峰已偏一侧，且皴笔少滃染多，地质较近于土山，与记载中的范宽风格并不尽似。对幅由尹继善、刘纶、王际华、钱维城、彭元瑞、曹文埴、陈孝泳等清代臣工题咏，虽然语中对范宽多所赞誉，但无法证明本幅与范宽有关，据画风推测成作时间应在南宋以后。\n另有旧题为范宽的《山水》、《秋景山水》、《海山图》、《霍童仙界图》等数幅，虽然作品中或题“范中立”、“范宽笔”、“华原范宽”，但均与范宽的风格相去甚远，时代也无法到宋，推定是明、清时期的托名伪作。本节遂不一一叙述。",[50,23,24,51,247,54,27,26,331,28,7,83],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7a037a9fc0181e3f16807504492c7c.jpg","浅设色","纵40.7公分，横27.3公分",[],33,{"id":338,"slug":339,"title":203,"dynasty":18,"author":46,"museum":20,"description":340,"tags":341,"thumbUrl":344,"material":103,"size":37,"collection":38,"collections":345,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":72},289804,"han-yan-ji-xue-tu-ma-yuan-289804","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,24,52,26,54,28,56,7,55,57,58,342,59,343,27],"屋舍","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f93ef862367b2ca55ea4ca66889a885.jpg",[],29,{"id":348,"slug":349,"title":350,"dynasty":157,"author":351,"museum":47,"description":352,"tags":353,"thumbUrl":356,"material":53,"size":357,"collection":69,"collections":358,"showCount":359,"zanCount":118,"manualWeight":11,"mainColor":72},221847,"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","刘贯道","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[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祁艺菊图》等传世。",[50,367,488,527,51,528,529,55,530,180,181,7,531,532],"行书","春泉","药圃","翠竹","闲情逸致","题咏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a952dc62001c0ff71c2b0f568dae5f.jpg",[],14,{"id":537,"slug":538,"title":539,"dynasty":157,"author":434,"museum":20,"description":435,"tags":540,"thumbUrl":543,"material":103,"size":37,"collection":38,"collections":544,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":72},283632,"hua-han-yan-ji-xue-zhang-yu-283632","画寒岩积雪",[24,51,54,52,26,58,82,7,342,541,542,85],"远山","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0864a3421ac5a684a16b934dfe59e80.jpg",[],13,{"id":547,"slug":548,"title":387,"dynasty":283,"author":189,"museum":20,"description":549,"tags":550,"thumbUrl":551,"material":38,"size":38,"collection":38,"collections":552,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":72},223669,"xue-jing-shan-shui-tu-ye-yi-ming-223669","此作铺展寒山素裹之境，层峦覆雪，山石棱线硬朗留白缀霜，似凝住凛冬清寒。虬曲枯木错落林间，枝桠积雪斑驳，萧疏间尽显苍劲古拙。山坳里山居隐现，木构廊轩错落排布，窗畔似含淡淡暖意，于冰寒天地晕开一隅烟火温情，静穆底色里暗蕴生机。\n\n画师以干笔皴擦勾勒山石肌理，淡墨晕染铺就雪地留白，虚实相生间尽显冬山空蒙清寂。将荒寒丘壑与幽居雅趣相融，绘就冬日山居的静惬之美，仿若可踏雪穿林，坐看林峦雪色，于冷寂山景中体味悠然避世的澹泊意韵。",[50,24,51,218,26,53,27,54,28,31,58,82,231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0d320b8b831560b39f3f2cf7b4c401.jpg",[],12,{"id":555,"slug":556,"title":557,"dynasty":272,"author":558,"museum":20,"description":559,"tags":560,"thumbUrl":569,"material":103,"size":37,"collection":570,"collections":571,"showCount":572,"zanCount":11,"manualWeight":11,"mainColor":573},225952,"ice-floes-on-the-seine-at-bougival-1867-1868-mo-nai-225952","Ice Floes on the Seine at Bougival, 1867-1868","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。",[561,562,563,564,28,565,566,59,84,514,567,568,130,7],"印象派","油画","塞纳河","浮冰","河岸","小船","光影","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff519e7b27f9724e1f44b873238c8f722.jpg","油画精选",[570],10,"F48FB1",{"id":575,"slug":576,"title":577,"dynasty":77,"author":578,"museum":141,"description":579,"tags":580,"thumbUrl":581,"material":582,"size":583,"collection":38,"collections":584,"showCount":585,"zanCount":11,"manualWeight":11,"mainColor":91},234914,"xue-jing-gu-shi-ce-sun-hu-234914","雪景故事册","孙祜","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,247,26,27,527,85,54,58,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62271ae40d85581b09fb9eb7e92db1a.jpg","绢本 设色","纵31．5厘米 横25．6厘米",[],8,{"id":587,"slug":588,"title":589,"dynasty":77,"author":590,"museum":20,"description":591,"tags":592,"thumbUrl":593,"material":38,"size":38,"collection":38,"collections":594,"showCount":595,"zanCount":11,"manualWeight":11,"mainColor":91},238827,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238827","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 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”。",[24,51,247,26,53,54,28,58,30,82,7,437,219,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d752b98269b50249bb4911e5586c67.jpg",[],7,{"id":597,"slug":598,"title":599,"dynasty":77,"author":444,"museum":20,"description":600,"tags":601,"thumbUrl":603,"material":103,"size":37,"collection":38,"collections":604,"showCount":595,"zanCount":11,"manualWeight":11,"mainColor":91},234960,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234960","王翚仿古山水册","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。”",[24,602,26,54,28,58,99,27,7,82],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256d2cbdb829c93a6f15ada9a7345502.jpg",[],{"id":606,"slug":607,"title":608,"dynasty":283,"author":609,"museum":20,"description":610,"tags":611,"thumbUrl":612,"material":38,"size":38,"collection":38,"collections":613,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":91},235822,"shan-shui-ce-li-liu-fang-235822","山水册","李流芳","以淡墨晕染远山，留白作覆雪，素净间尽显冬日萧寒清寂。近岸枯木虬枝错落舒展，苍劲疏朗，石畔点缀数丛青枝，于冷寂中暗生机趣。简淡笔墨勾勒出空寂出尘的水滨冬色，洗尽繁缛，尽显幽远雅致。\n\n此作笔墨简而意足，承晚明文人画尚淡尚简之风，将林下幽居的清冷雅趣藏于尺幅之间，题跋小字与清寂画面相映成趣，诗画合璧中，尽见画者寄情山水的悠远襟怀，淡而有味，余韵悠长。",[24,51,247,26,54,28,84,354,7,82,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb08e5af6b2c199a9c37238e00bf4918.jpg",[],4,{"id":616,"slug":617,"title":618,"dynasty":619,"author":620,"museum":621,"description":622,"tags":623,"thumbUrl":10,"material":38,"size":38,"collection":69,"collections":624,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":625},203401,"ji-xue-wan-qing-tu-zhou-wu-dai-qiu-203401","积雪晚晴图轴","近代","吴待秋","上海博物馆","画面以积雪覆峦为核心，峰岫错落间，几处屋舍藏于岩侧，隐现幽居之韵。近景枯木疏枝裹雪，松针苍劲依旧，溪水蜿蜒穿石而过，小桥横架其上，生趣暗生。笔墨清润，山石以淡墨皴擦晕染，积雪留白显素净质感；树木枝干勾勒简练却见风骨。整体意境清冷静谧，晚晴之晖似漫于天际，给银白世界添些许暖意。构图疏密有致，远峰近树相映成趣，尽展冬日山林的幽寂与暗藏的生机。",[24,54,7,53,27,342,146,147,84,52,50],[69],"aea091",{"id":627,"slug":628,"title":629,"dynasty":77,"author":630,"museum":621,"description":631,"tags":632,"thumbUrl":635,"material":38,"size":38,"collection":38,"collections":636,"showCount":614,"zanCount":118,"manualWeight":11,"mainColor":637},202641,"fa-li-cheng-shan-shui-tu-zhou-wang-yan-202641","法李成山水图轴","王巘","画面以淡墨晕染层叠远山，积雪覆于峰峦坡石，留白与墨色交织出清寒意境。近景苍松劲挺，枝桠凝雪，茅舍掩映林麓间；溪流蜿蜒，一叶扁舟泛于水面，隐现渔者身影，添生活意趣。山石勾勒运用皴法，线条刚柔相济；树木笔墨疏密有致，构图层次分明，虚实相生。整体尽显冬日山水静谧悠远，传递文人寄情林泉的恬淡心境。",[24,51,52,26,53,27,54,127,633,219,634,541,7,50],"茅舍","苍松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e0d96a528aed2b1fd48dca7609b365.jpg",[],"baa98e",{"id":639,"slug":640,"title":641,"dynasty":77,"author":189,"museum":20,"description":642,"tags":643,"thumbUrl":647,"material":103,"size":37,"collection":38,"collections":648,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},271261,"cheng-hou-cun-zhen-cang-re-he-tu-mo-nan-shan-ji-xue-mo-yi-ming-271261","程后村珍藏热河图墨-南山积雪墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[644,645,488,646,7,148,55],"墨","楷书","南山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c7bda2deecbbb86397638364b7f1474.jpg",[],{"id":650,"slug":651,"title":652,"dynasty":283,"author":295,"museum":621,"description":653,"tags":654,"thumbUrl":655,"material":38,"size":38,"collection":69,"collections":656,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":657},201256,"guan-shan-fei-xue-tu-zhou-xie-shi-chen-201256","关山霏雪图轴","雪覆关山，苍茫清旷。层叠山峦间，积雪似玉裹岩岫，皴笔勾勒出山石嶙峋肌理，淡墨晕染出霏雪弥漫的朦胧。枯枝交错，墨线细密如织，凝霜挂雪般苍劲；山间屋舍错落，隐现于林麓，添几分人间烟火；岩畔孤舟静泊，与皑皑雪景相映，更显山野幽寂。整幅画以水墨为底，皴擦点染间，将冬日山水的静谧清冷与隐逸之趣融于一体，意境悠远，笔墨精湛，尽显传统山水的雅致韵味。",[24,54,26,27,127,342,58,7,52,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ca2b8b9d0850788a95f2abf64a6358.jpg",[69],"ada596",1777535709609]