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在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,24,25,7,26,27,28],"高清","国画","水墨","写意","人物","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb68802f7eb8ed417349f2db1071bb.jpg","纸本","纵向81.2厘米，横向30.4厘米","宋画精选",[32,34,35],"人物画精选","水墨画精选",177,3,"BDBDBD",{"id":40,"slug":41,"title":42,"dynasty":18,"author":19,"museum":43,"description":44,"tags":45,"thumbUrl":49,"material":50,"size":51,"collection":34,"collections":52,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":38},217069,"bu-dai-he-shang-tu-liang-kai-217069","布袋和尚图","藏地不详","布袋和尚是中国佛教图像中的一个著名人物，他被认为是弘法利生的传人。布袋和尚是由宋朝画家梁楷所绘制的。\n\n梁楷，原名梁可柔，是宋朝著名的画家，他以其精湛的绘画技艺而闻名。梁楷的作品大多描绘了佛教的场景和人物，其中包括布袋和尚的图像。\n\n布袋和尚的图像通常描绘出他的标志性外观，包括高耸的高顶头巾，满身袈裟，手持莲花，以及脸上带着坚定的信念和善意的笑容。这些图像通常被视为对佛教价值观的良好描述，包括善良、谅解和慈悲。\n\n梁楷的作品对中国画的发展产生了深远的影响，他的布袋和尚图像也成为了中国佛教图像的经典之作。如今，布袋和尚的图像仍然受到广泛的欢迎，并被视为中国文化的重要组成部分。",[23,24,46,18,47,48,27,25,7,28],"书画","立轴","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904a61fa90ea575ee40aabf94c6fb98e.jpg","纸本,水墨","",[34],135,{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":58,"description":59,"tags":60,"thumbUrl":63,"material":50,"size":64,"collection":35,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":38},219188,"liu-zu-si-jing-tu-liang-kai-219188","六祖撕经图","三井纪念美术馆","画面上六祖慧能大师手拿撕坏的佛经， 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宋代方勺《泊宅编》中记载了一则民间故事：婺州（今浙江金华）有僧嗜猪头，行为莫测，或曰 猪头和尚。有衢守馔猪头召师食，守自牖窥之，见一鬼从旁食，师无预焉。已而师坐亡。衢人奉香火良谨, 有祷辄应。梁楷曾流寓杭州，或听过此传说。",[61,24,46,25,7,27,48,137,85],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","绢本,水墨","23.7x37.8厘米",[34],47,{"id":144,"slug":145,"title":146,"dynasty":18,"author":19,"museum":147,"description":148,"tags":149,"thumbUrl":155,"material":156,"size":157,"collection":51,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":77},221610,"shu-liu-han-ya-liang-kai-221610","疏柳寒鸦","北京故宫博物院","本幅款识：“梁楷”。\n图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[23,24,61,150,25,7,151,152,153,154],"扇面","花鸟","柳","鸦","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12681876ad222db36245da81d5c54f6.jpg","绢本，设色","纵26.4厘米，横24.2厘米",[],46,{"id":161,"slug":162,"title":163,"dynasty":18,"author":19,"museum":164,"description":165,"tags":166,"thumbUrl":170,"material":127,"size":171,"collection":172,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":77},219075,"han-tang-tu-liang-kai-219075","寒塘图","哈佛艺术博物馆","寒塘漾着薄暮的影，枯树的枝桠如写尽沧桑的笔锋，斜斜划过空濛的背景。几只水鸟依偎在岸石边，绒羽的留白透着怯怯的暖，与周遭的冷寂形成温柔对照。淡墨晕开的水面，似有若无的波纹，把清寒气息漫向画外。\n\n减笔不简意，枯槁里藏生机，空疏中含情味——萧瑟里是生命在冷意中的坚守，空濛间是天地幽远的淡然。寥寥数笔，将冬日寒塘的清寂与微芒揉合，每一处墨色浓淡、线条曲直，都藏着对自然的深刻观照：冷到极致时，反而见得生命本真的模样。这方圆镜里，是画，更是心与天地的对话。",[24,25,7,167,168,111,154,85,169],"山水","枯藤","寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3589e99e2899dbb7d805d459868c98e0.jpg","24.6x25.7cm","花鸟画精选",[172],41,{"id":176,"slug":177,"title":42,"dynasty":18,"author":19,"museum":178,"description":21,"tags":179,"thumbUrl":180,"material":87,"size":181,"collection":51,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":77},221603,"bu-dai-he-shang-tu-liang-kai-221603","上海博物馆",[23,24,46,27,48,25,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a3b6d4db81452ecdf7a090b19e5c62.jpg","纵31 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5厘米",[],39,{"id":185,"slug":186,"title":187,"dynasty":18,"author":19,"museum":188,"description":189,"tags":190,"thumbUrl":192,"material":193,"size":194,"collection":51,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":197},221609,"ze-pan-xing-yin-tu-liang-kai-221609","泽畔行吟图","美国大都会艺术博物馆","《史记·屈原列传》有“屈原即放，披发行吟泽畔”，“泽畔行吟”的意思是在河边边走边吟（诗）。此画的左上部是隐隐的山峰，中上部大片的空白给人于无限的想象，空白中又有渲染的淡墨，似云似雾却绵延出了中景的山石与彼岸。左下角沙洲上摇曳的枯苇，暗示着秋冬的凛冽，右下角一岸斜坡上，一位高士手拄竹杖，迎着寒风，似行似吟仰头面对寥廓，似屈原、似李白更似画家本人吧！",[24,46,25,7,27,167,85,191],"泽畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31310ea121bd5bab6b9106fd76e6d10.jpg","绢本墨笔","22.9×24.3cm",[],34,"F48FB1",{"id":199,"slug":200,"title":201,"dynasty":18,"author":19,"museum":147,"description":202,"tags":203,"thumbUrl":207,"material":208,"size":209,"collection":51,"collections":210,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":77},221607,"liu-xi-wo-di-tu-liang-kai-221607","柳溪卧笛图","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[23,24,61,46,25,7,167,27,204,205,206],"柳树","溪流","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a56bcc78c55ff8ae9cf7480874e52a.jpg","绢本水墨","26.1×26.1cm",[],33,{"id":213,"slug":214,"title":215,"dynasty":18,"author":19,"museum":147,"description":216,"tags":217,"thumbUrl":219,"material":156,"size":220,"collection":51,"collections":221,"showCount":222,"zanCount":67,"manualWeight":11,"mainColor":38},234032,"san-gao-you-shang-tu-liang-kai-234032","三高游赏图","梁楷南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[18,24,25,73,7,27,167,218],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e1e51bf1b9c8f7cd1b7981873329e6.jpg","纵25.3厘米，横26厘米",[],21,{"id":224,"slug":225,"title":226,"dynasty":18,"author":19,"museum":147,"description":227,"tags":228,"thumbUrl":229,"material":156,"size":157,"collection":51,"collections":230,"showCount":231,"zanCount":67,"manualWeight":11,"mainColor":77},234067,"shu-liu-han-ya-tu-ye-liang-kai-234067","疏柳寒鸦图页","图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[61,24,25,7,150,151,152,153,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98edc522b970230b3f33e393d08d85c.jpg",[],20,{"id":233,"slug":234,"title":235,"dynasty":18,"author":19,"museum":147,"description":236,"tags":237,"thumbUrl":244,"material":156,"size":220,"collection":51,"collections":245,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":38},221600,"san-gao-you-shang-tu-ye-liang-kai-221600","三高游赏图页","此图原载《宋人名流集藻册》。画上题云：御前图画梁楷笔。这幅画可以代表他的人物画的风格。人物面部表情很细致，而衣履则以寥寥数笔成之，更显得迅捷有力。后来的许多画家都从他这里得到了启发。",[23,238,24,46,239,240,73,7,241,27,167,242,243,137,28],"宋代","文人画","水墨画","册页","树木","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bc58b4c1c2fc63890cffa78db35ae7.jpg",[],16,1777535722772]