[{"data":1,"prerenderedAt":472},["ShallowReactive",2],{"subject-jiang-he":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1101,"jiang-he","江河","江河画高清赏析","精选中国历代江河题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2866b627847bbebf23c89fc499608a4a.jpg",0,32,[14,52,76,92,112,130,150,163,177,190,203,213,224,240,251,259,287,301,309,321,331,344,357,370,381,390,402,412,421,433,449,461],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":44,"material":45,"size":46,"collection":47,"collections":48,"showCount":49,"zanCount":50,"manualWeight":11,"mainColor":51},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36,37,38,39,40,41,42,43],"高清","名画","国画","长卷","青绿山水","设色","工笔","山峦","飞瀑","房舍","林木","渔村","水榭","长桥","渔舟","人物","亭台","烟波","曲径","茅屋","游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","",[],1322,12,"795548",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":69,"material":70,"size":71,"collection":47,"collections":72,"showCount":73,"zanCount":74,"manualWeight":11,"mainColor":75},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","唐","王维","藏于日本民间","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。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[23,24,25,61,26,62,63,64,65,7,66,67,68],"书画","水墨","皴法","山水","雪山","枯树","飞鸟","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纸本","纵31.3厘米，横207.3厘米",[],183,1,"BDBDBD",{"id":77,"slug":78,"title":79,"dynasty":18,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":87,"material":88,"size":89,"collection":47,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":51},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","藏地不详","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。",[23,24,25,61,26,62,64,30,7,84,85,86,63],"云雾","楼阁","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg","未知","Xcm*Xcm",[],179,{"id":93,"slug":94,"title":95,"dynasty":18,"author":96,"museum":20,"description":97,"tags":98,"thumbUrl":103,"material":104,"size":105,"collection":106,"collections":107,"showCount":110,"zanCount":111,"manualWeight":11,"mainColor":75},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,25,26,62,99,63,64,7,30,84,86,100,101,102],"山水画","孤舟","桥梁","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纸本，水墨","纵45.1厘米，横992.5厘米","宋画精选",[106,108,109],"山水画精选","水墨画精选",161,2,{"id":113,"slug":114,"title":115,"dynasty":116,"author":117,"museum":118,"description":119,"tags":120,"thumbUrl":125,"material":126,"size":127,"collection":108,"collections":128,"showCount":129,"zanCount":111,"manualWeight":11,"mainColor":75},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","元","赵孟頫","台北故宫博物院","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,25,24,61,26,62,63,121,122,64,7,100,86,30,123,124],"行书","印章","岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纸本,水墨","纵28.4、横176.4厘米",[108],133,{"id":131,"slug":132,"title":133,"dynasty":18,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":146,"material":147,"size":47,"collection":108,"collections":148,"showCount":149,"zanCount":111,"manualWeight":11,"mainColor":51},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","佚名","美国大都会艺术博物馆","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[23,25,26,99,62,138,139,86,7,140,141,142,143,144,145],"斧劈皴","山石","帆船","屋舍","行人","四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg","绢本,设色",[108],118,{"id":151,"slug":152,"title":153,"dynasty":18,"author":154,"museum":81,"description":155,"tags":156,"thumbUrl":160,"material":88,"size":89,"collection":47,"collections":161,"showCount":162,"zanCount":74,"manualWeight":11,"mainColor":51},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","秋江渔艇图","许道宁","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,24,25,26,62,99,63,64,7,100,66,157,158,159],"渔者","行旅","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],71,{"id":164,"slug":165,"title":166,"dynasty":167,"author":168,"museum":169,"description":170,"tags":171,"thumbUrl":173,"material":147,"size":174,"collection":108,"collections":175,"showCount":176,"zanCount":74,"manualWeight":11,"mainColor":51},219944,"jiang-shan-sheng-lan-tu-yan-zong-219944","江山胜览图","明","颜宗","香港中文大学文物馆","颜宗（1393—约1453）广东南海人，字学渊。永乐二十一年举人。授邵武知县，为政清明，以救荒悯旱为先。招抚邓茂七余部，全活甚众。景泰中擢兵部主事，署员外郎。奔母丧归，卒于途中。善画山水，时人有“颜老天趣不可及”之语，当时名画师如林良，视之尚有逊色。",[24,25,61,26,62,64,30,84,7,172,39,86,37],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F366483a10fdb6cde35d65da1131e8083.jpg","35.5x610厘米",[108],60,{"id":178,"slug":179,"title":180,"dynasty":18,"author":181,"museum":81,"description":182,"tags":183,"thumbUrl":187,"material":88,"size":89,"collection":47,"collections":188,"showCount":189,"zanCount":74,"manualWeight":11,"mainColor":51},289105,"chi-bi-tu-yang-shi-xian-289105","赤壁图","杨士贤","宫廷画家杨士贤根据苏轼《赤壁赋》创作《前赤壁图》，亦从一个角度看出文人画对宫廷绘画审美观念的影响，文人画的某些价值、观念和精神内容已经不可避免影响到了中国绘画的各个方面，并作为后世中国画的主要特色、主导画风出现在历史的视野之中。",[23,24,25,61,26,64,62,63,7,184,185,100,186],"怪石","古松","赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ec93b40bc54ec26757c2c3d518075.jpg",[],59,{"id":191,"slug":192,"title":193,"dynasty":18,"author":194,"museum":81,"description":195,"tags":196,"thumbUrl":200,"material":88,"size":89,"collection":47,"collections":201,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":51},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","江山小景图","李唐","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,24,25,61,26,62,28,63,64,100,197,33,198,7,199,85],"亭","瀑布","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],55,{"id":204,"slug":205,"title":206,"dynasty":18,"author":80,"museum":118,"description":207,"tags":208,"thumbUrl":211,"material":47,"size":47,"collection":106,"collections":212,"showCount":202,"zanCount":74,"manualWeight":11,"mainColor":51},221421,"da-jiang-tu-yan-wen-gui-221421","大江图","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,25,61,26,62,63,64,7,209,85,210,86,139,197],"船只","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[106,108,109],{"id":214,"slug":215,"title":216,"dynasty":18,"author":194,"museum":20,"description":217,"tags":218,"thumbUrl":220,"material":45,"size":221,"collection":47,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":51},221582,"chang-xia-jiang-si-tu-li-tang-221582","长夏江寺图","该图描绘了长江岸上群峰罗列，寺观丛林，互相映带。江水粼粼，风帆出没于其间，气势雄伟壮阔。\n用笔方硬坚重，山石峭丽雄浑，气魄雄伟，境界浩莽，用墨善用墨沉沉的、浓厚的墨韵，厚实而滋润。",[23,24,25,61,26,28,64,63,86,30,7,219],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855261dbfdf4c3b113712ec8417c0e89.jpg","纵：44厘米，横：249厘米",[],52,{"id":225,"slug":226,"title":227,"dynasty":167,"author":228,"museum":118,"description":229,"tags":230,"thumbUrl":235,"material":236,"size":237,"collection":108,"collections":238,"showCount":239,"zanCount":74,"manualWeight":11,"mainColor":51},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,25,231,99,28,63,232,233,86,234,39,7,139,84,122],"立轴","石壁","山峰","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","纸本设色","本幅 70.6x30.3公分、全幅 44.5公分",[108,109],51,{"id":241,"slug":242,"title":243,"dynasty":18,"author":194,"museum":81,"description":244,"tags":245,"thumbUrl":248,"material":88,"size":89,"collection":47,"collections":249,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":51},288471,"jiang-shan-xiao-jing-tu-quan-juan-li-tang-288471","江山小景图全卷","此卷并无李唐签款，有一方祥哥刺吉公主的残印在画卷末缘上端。此卷中描绘一段沿江的山水景观，山中有各式建筑与山径穿绕，江上亦见船帆往来，人物活动丰富多样。画中山体以深浓轮廓线勾勒，藉石青与石绿烘染质面，间以简略皴笔构成凹凸，营造出坚实的山石效果。此一画风特色虽是与两宋之际李唐、萧照相近，但用笔更近阎次平，推测是近于第二代南宋院体画风之作。",[23,24,25,61,26,99,63,28,246,33,7,100,85,247,122],"奇峰","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff97c40d039455fddefa58f3ab617d.jpg",[],49,{"id":252,"slug":253,"title":254,"dynasty":18,"author":80,"museum":81,"description":82,"tags":255,"thumbUrl":256,"material":88,"size":89,"collection":47,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":51},283692,"jiang-shan-lou-guan-tu-yan-wen-gui-283692","江山楼观图",[23,24,25,26,62,64,63,30,7,84,86,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41c21ecbc8836ec3be077cef4fdb8e.jpg",[],48,{"id":260,"slug":261,"title":262,"dynasty":18,"author":263,"museum":20,"description":264,"tags":265,"thumbUrl":282,"material":283,"size":284,"collection":47,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":51},221530,"shui-tu-juan-ma-yuan-221530","水图卷","马远","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[23,25,26,61,62,28,64,266,267,268,7,269,270,271,272,273,274,275,276,277,278,279,280,281],"水","波浪","湖面","沧海","风","云","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","绢本，淡设色","纵26.8厘米，横41.6厘米",[],45,{"id":288,"slug":289,"title":290,"dynasty":291,"author":292,"museum":81,"description":293,"tags":294,"thumbUrl":298,"material":88,"size":89,"collection":47,"collections":299,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":75},288280,"xiao-xiang-tu-dong-yuan-288280","潇湘图","五代十国","董源","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”。",[23,24,25,26,61,62,28,63,64,7,100,295,33,67,247,121,296,122,297],"洲渚","草书","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],36,{"id":302,"slug":303,"title":95,"dynasty":167,"author":304,"museum":81,"description":305,"tags":306,"thumbUrl":307,"material":88,"size":89,"collection":47,"collections":308,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":75},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","戴进","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,24,25,61,26,247,62,28,63,99,64,7,30,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":310,"slug":311,"title":99,"dynasty":312,"author":313,"museum":20,"description":314,"tags":315,"thumbUrl":318,"material":70,"size":47,"collection":47,"collections":319,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":75},234115,"shan-shui-hua-wang-san-xi-234115","清","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[25,61,26,28,63,62,64,84,139,86,7,100,85,316,317,172,210],"远山","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],28,{"id":322,"slug":323,"title":324,"dynasty":18,"author":154,"museum":81,"description":325,"tags":326,"thumbUrl":328,"material":47,"size":47,"collection":47,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":75},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,24,25,61,26,64,28,159,327,30,7,33,121],"晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],26,{"id":332,"slug":333,"title":334,"dynasty":18,"author":335,"museum":118,"description":336,"tags":337,"thumbUrl":338,"material":339,"size":340,"collection":341,"collections":342,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":75},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","武元直","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,25,61,26,64,62,63,247,121,233,7,100,86,199,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg","白纸本","纵50.8厘米，横136.4厘米","书法精选",[341],20,{"id":345,"slug":346,"title":347,"dynasty":18,"author":348,"museum":81,"description":349,"tags":350,"thumbUrl":354,"material":47,"size":47,"collection":47,"collections":355,"showCount":356,"zanCount":11,"manualWeight":11,"mainColor":51},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","萧照","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,24,25,61,99,351,63,28,139,86,7,100,198,352,85,316,353],"界画","峭壁","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],19,{"id":358,"slug":359,"title":360,"dynasty":18,"author":361,"museum":81,"description":362,"tags":363,"thumbUrl":367,"material":88,"size":89,"collection":47,"collections":368,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":51},288944,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-288944","潇湘八景-江天暮雪","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[25,26,99,62,63,364,7,365,139,100,67,39,366],"雪景","寒林","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6cad3d138a2f588d7e6ddb399c2267.jpg",[],17,{"id":371,"slug":372,"title":373,"dynasty":18,"author":361,"museum":81,"description":362,"tags":374,"thumbUrl":378,"material":88,"size":89,"collection":47,"collections":379,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":51},288736,"xiao-xiang-ba-jing-tu-juan-er-wang-hong-288736","潇湘八景图卷二",[24,25,26,62,99,375,86,100,316,7,376,377],"江岸","平坡","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e14357e1abb377052d447c26398dbb0.jpg",[],16,{"id":382,"slug":383,"title":384,"dynasty":167,"author":134,"museum":81,"description":385,"tags":386,"thumbUrl":388,"material":88,"size":89,"collection":47,"collections":389,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":51},287835,"fang-xia-gui-qian-yan-jing-xiu-yi-ming-287835","仿夏圭千岩竞秀","此作以长卷铺展江天丘壑，取夏氏边角山水意趣。斧劈皴斫出崖嶂硬峭骨相，苍松杂树偃仰生姿，江岸逶迤，浅渚渔舟隐于烟岚淡墨之间，平远景致虚实相生，将江南山水的清旷空濛揉入简劲笔意。\n\n引首行书笔势跌宕，与山水萧散野逸相映成趣，书画合璧复刻宋韵雅逸，将千里烟景收揽尺幅，观之如乘舟泛江，岩岫秀色次第展开，幽寂旷远的林下风致扑面而来，尽得复古追宋的山水意趣。",[23,25,26,99,28,63,30,7,100,86,39,172,387,247,296],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49d08c69238c36956940a1b8dc4a08d.jpg",[],{"id":391,"slug":392,"title":393,"dynasty":18,"author":134,"museum":118,"description":394,"tags":395,"thumbUrl":399,"material":147,"size":47,"collection":108,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":75},218691,"da-jiang-gu-yu-tu-yi-ming-218691","大江孤屿图","圆形取景框中，大江烟波浩渺，云气轻笼水天，界限渐次模糊。江心孤屿如遗珠静卧，峰峦以淡墨晕染，隐现间透着清寂；几株苍树点缀岩畔，疏朗有致。左侧墨笔题跋流转，字迹与山水气韵相融，似在低诉江天的悠悠意绪。画作用笔简远，墨色层次淡宕，将宋人的简雅风骨凝于方寸之间。天地的辽阔与孤屿的幽独相映，江风的轻响仿佛穿纸而来，让观者如立江畔，心生旷远沉静，沉醉于这份跨越千年的淡远意境里。",[23,25,396,28,64,63,7,397,398],"册","孤石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24065cccd3796ea3a69972381698f8ad.jpg",[108],9,{"id":403,"slug":404,"title":405,"dynasty":167,"author":134,"museum":81,"description":406,"tags":407,"thumbUrl":409,"material":88,"size":89,"collection":47,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":51},287956,"mo-yan-wen-gui-dong-xue-shan-shui-tu-juan-yi-ming-287956","摹燕文贵冬雪山水图卷","此作以全景铺展冬雪山河，层叠山峦以枯淡皴笔勾勒，如银妆玉琢般尽显冬日萧寒。江天寥廓浩渺，渔汀村舍散缀水畔，于清寂冷冽中暗萦烟火暖意。\n笔墨追摹燕家景致，将冬雪裹山的苍茫气魄铺陈开来，峰峦层叠间尽显全景山水的雄浑格局，素褐底色晕染出雪色凝寒、江雾笼山的空濛意境。题诗与山水呼应，把客居江左的冬日幽怀融于尺幅，复刻山水精妙，尽显摹古之作的沉静雅致，将冬日江雪的清旷冷寂全然铺展在卷中。",[23,24,25,26,99,387,364,30,7,63,28,408],"冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6408c306571f84dbaba80d085ffeb37d.jpg",[],8,{"id":413,"slug":414,"title":415,"dynasty":312,"author":416,"museum":81,"description":417,"tags":418,"thumbUrl":419,"material":47,"size":47,"collection":47,"collections":420,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":75},234653,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234653","原济金陵十景图册","石涛","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。",[24,25,61,396,62,64,100,67,172,7,247,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c273784c28f30a319aebee28df4fd0.jpg",[],{"id":422,"slug":423,"title":424,"dynasty":312,"author":425,"museum":426,"description":427,"tags":428,"thumbUrl":430,"material":47,"size":47,"collection":108,"collections":431,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":432},201688,"fu-wang-meng-jiang-shan-qian-li-tu-juan-wang-hui-201688","抚王蒙江山千里图卷","王翚","上海博物馆","这幅长卷以细腻笔触铺展千里江山，山峦叠嶂间林木葱郁，江河烟波浩渺，舟楫点点穿梭水面，村落隐于山麓林麓间，尽显江南山水的灵秀与旷远。画家承袭王蒙笔意，以繁复而不失条理的皴法勾勒山石肌理，线条灵动且富有层次，墨色浓淡相宜，既再现原作苍莽气象，又融入自身对山水的体悟，营造出深远静谧的意境，堪称仿古山水的典范之作。",[64,26,63,387,33,7,429,172,23],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc68c2eba467ae572cd264bda564355.jpg",[108],"ad9168",{"id":434,"slug":435,"title":436,"dynasty":18,"author":134,"museum":81,"description":437,"tags":438,"thumbUrl":446,"material":47,"size":47,"collection":47,"collections":447,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":51},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","远水扬帆图","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,24,25,61,99,439,28,440,63,86,441,42,139,442,140,38,316,443,7,429,444,445],"绢本","兼工带写","柳树","水面","芦苇","岸坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],7,{"id":450,"slug":451,"title":452,"dynasty":312,"author":453,"museum":426,"description":454,"tags":455,"thumbUrl":457,"material":47,"size":47,"collection":108,"collections":458,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":460},201510,"jiang-shan-fan-zhou-tu-juan-sun-lang-201510","江山泛舟图卷","孙浪","长卷徐徐展开，江河如练，浩渺无垠。水面孤舟点点，或远或近，载着几分悠然。近岸林木葱茏与枯疏相间，山石以皴法勾勒，肌理分明；远山层叠，淡墨晕染，渐次隐入天际。笔墨简练却意蕴悠长，将江山之壮阔与泛舟之闲适相融，尽显传统水墨山水的空灵雅致，引人入胜。",[25,26,62,64,100,63,7,33,30,456,23],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f9c8e75bf4e2009c324efbed66082e3.jpg",[108],6,"b8a88d",{"id":462,"slug":463,"title":464,"dynasty":167,"author":465,"museum":81,"description":466,"tags":467,"thumbUrl":469,"material":88,"size":89,"collection":47,"collections":470,"showCount":471,"zanCount":11,"manualWeight":11,"mainColor":75},287955,"shan-shui-tu-wen-zheng-ming-287955","山水图","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,61,26,62,64,7,30,86,39,100,172,84,468,122],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4f3e980274033cbc75ab347d4b58af.jpg",[],5,1777535714298]