[{"data":1,"prerenderedAt":838},["ShallowReactive",2],{"subject-jiang-shui":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},453,"jiang-shui","江水","江水画高清赏析","精选中国历代江水题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8969f34716b2b1c3b365d1429be1cc08.jpg",0,66,[14,41,63,89,107,125,141,157,172,188,200,215,226,241,257,271,286,301,313,325,337,347,362,373,386,397,413,427,439,449,458,470,481,492,501,510,520,531,543,554,565,575,584,595,604,615,625,634,643,652,664,673,683,694,712,720,730,739,755,764,775,786,798,807,818,828],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},214589,"zhou-xing-shi-jing-jiang-an-wang-shan-dong-qi-chang-214589","舟行十景-江岸望山","明","董其昌","台北故宫博物院","董其昌是明代著名画家，他的《舟行十景》系列画作中的《江岸望山》是一幅以山水为主题的画作。这幅画中，董其昌绘制了一条河流，河流两岸绿树成荫，清新的水面上划着许多小船，画面中央是一座山峰，山峰高耸入云，周围是葱郁的森林。董其昌在画中运用了自然透视法，使得这幅画呈现出浓郁的立体感。同时，董其昌还细致地描绘了河流两岸的居民生活，使得这幅画不仅有美好的山水风光，还有丰富的人文内涵。",[23,24,25,26,27,28,29,30,7,31,32],"名画","国画","水墨","山水","皴法","册","山","树","江岸","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff107ac474552fe8a646073313322cb10.jpg","纸本,水墨","28.8x17.7cm","山水画精选",[36],230,2,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":20,"description":47,"tags":48,"thumbUrl":57,"material":58,"size":59,"collection":36,"collections":60,"showCount":61,"zanCount":39,"manualWeight":11,"mainColor":62},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋","李唐","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[24,49,50,26,25,27,51,7,52,53,54,55,32,56],"书画","立轴","设色","孤舟","枯藤老树","远山","人物","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","纸本,设色","118.6x48.6cm",[36],223,"795548",{"id":64,"slug":65,"title":66,"dynasty":45,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":81,"material":82,"size":83,"collection":84,"collections":85,"showCount":87,"zanCount":88,"manualWeight":11,"mainColor":62},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","千里江山图卷","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[70,23,24,71,25,26,72,7,73,74,75,76,77,78,79,55,80],"高清","长卷","群峰","溪壑","草木","农舍","栈道","小桥","亭","村落","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","绢本","纵46.3厘米，横546.5厘米","宋画精选",[84,36,86],"设色画精选",204,1,{"id":90,"slug":91,"title":92,"dynasty":18,"author":93,"museum":20,"description":94,"tags":95,"thumbUrl":101,"material":102,"size":103,"collection":36,"collections":104,"showCount":105,"zanCount":106,"manualWeight":11,"mainColor":62},222204,"qiu-jiang-dai-du-zhou-chou-ying-222204","秋江待渡轴","仇英","此幅用笔极工，盖实父着意之作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[70,23,24,49,50,51,96,27,26,55,7,52,97,98,99,100],"工笔","秋树","山石","树木","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","绢本,设色","155.4x133.4公分",[36,86],112,3,{"id":108,"slug":109,"title":110,"dynasty":111,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":120,"material":82,"size":121,"collection":36,"collections":122,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":40},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","元","倪瓒","美国大都会艺术博物馆","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[70,24,49,50,25,116,27,117,118,119,26,54,7],"山水画","枯树","老树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[36,123],"水墨画精选",103,{"id":126,"slug":127,"title":128,"dynasty":111,"author":129,"museum":113,"description":130,"tags":131,"thumbUrl":137,"material":102,"size":138,"collection":36,"collections":139,"showCount":140,"zanCount":106,"manualWeight":11,"mainColor":62},214843,"gu-he-heng-jiang-tu-zhao-yong-214843","孤鹤横江图","赵雍",""孤鹤横江图" 是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[70,24,49,26,132,25,51,133,98,7,52,55,134,135,136],"扇面","松树","山峦","红叶树","孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg","",[36],101,{"id":142,"slug":143,"title":144,"dynasty":45,"author":145,"museum":20,"description":146,"tags":147,"thumbUrl":152,"material":153,"size":154,"collection":138,"collections":155,"showCount":156,"zanCount":39,"manualWeight":11,"mainColor":40},232841,"chi-bi-tu-wu-yuan-zhi-232841","赤壁图","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[70,24,49,71,25,27,26,52,148,99,7,54,149,134,150,151],"悬崖","近石","云雾","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纸本","纵50.8厘米，横136.4厘米",[],92,{"id":158,"slug":159,"title":160,"dynasty":111,"author":161,"museum":162,"description":163,"tags":164,"thumbUrl":168,"material":34,"size":169,"collection":36,"collections":170,"showCount":156,"zanCount":106,"manualWeight":11,"mainColor":171},218304,"jiang-shan-xue-ji-tu-wu-jin-218304","江山雪霁图","吴瑾","北京故宫博物院","寒江雪霁，天地归于素净。孤峰列峙，覆雪的岩壁透着冷峭；疏林枯木，枝桠苍劲如铁，似在寒风中守着一份清寂。江面上薄雾轻笼，一叶扁舟漾开微澜，舟中隐见人影，独对这空阔山水。笔墨淡润，山石以简皴晕染，留白处尽现雪的洁净；树木勾勒简练却含古意，每一笔都藏着文人的疏阔心境。整幅画无喧嚣，唯有静谧漫溢——雪落的轻响、江风的微痕，都凝在这方天地里，将冬日的清寒与悠远，酿成一杯可饮的孤寂，又透着几分超脱尘俗的淡然。",[24,23,49,25,27,116,29,165,30,52,7,166,167,117],"雪","岩石","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[36],"F48FB1",{"id":173,"slug":174,"title":160,"dynasty":45,"author":175,"museum":20,"description":176,"tags":177,"thumbUrl":183,"material":102,"size":184,"collection":84,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":187},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[70,23,24,116,178,51,27,29,165,7,179,99,180,98,181,182,167],"宋代","房屋","寒林","楼阁","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[84,36],84,"37474F",{"id":189,"slug":190,"title":191,"dynasty":45,"author":192,"museum":193,"description":194,"tags":195,"thumbUrl":197,"material":138,"size":138,"collection":138,"collections":198,"showCount":199,"zanCount":88,"manualWeight":11,"mainColor":62},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","佚名","藏地不详","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[70,24,23,49,28,51,96,27,26,55,52,7,98,196],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],76,{"id":201,"slug":202,"title":203,"dynasty":111,"author":204,"museum":205,"description":206,"tags":207,"thumbUrl":210,"material":102,"size":211,"collection":212,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":62},218239,"cang-jiang-heng-di-tu-sheng-mao-218239","沧江横笛图","盛懋","南京博物院","此图所描绘的是一幅江畔秋景。画面远处烟波浩渺，青山伏卧，一派江南平淡幽远的山水景色。近处岸边斜伸出几棵大树，阵风吹过，落叶萧然，惊起的三、五只雀鸟，或飞或栖，自在悠然。树下渔人临风横笛，神情专注。",[24,50,51,26,55,30,208,209,7,54,27],"飞鸟","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f90e787aa60094f0aca0e0ed0c9958b.jpg","纵84.8厘米，横47.1厘米","花鸟画精选",[212,36],75,{"id":216,"slug":217,"title":218,"dynasty":45,"author":192,"museum":219,"description":220,"tags":221,"thumbUrl":222,"material":102,"size":223,"collection":36,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":62},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","上海博物馆","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[23,24,49,132,51,27,26,78,77,99,98,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[36],70,{"id":227,"slug":228,"title":229,"dynasty":111,"author":192,"museum":162,"description":230,"tags":231,"thumbUrl":237,"material":102,"size":238,"collection":36,"collections":239,"showCount":240,"zanCount":88,"manualWeight":11,"mainColor":62},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[24,25,26,55,232,117,98,7,233,27,234,235,118,236],"驴","蓑笠","行旅","古道","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[36],68,{"id":242,"slug":243,"title":244,"dynasty":18,"author":93,"museum":162,"description":245,"tags":246,"thumbUrl":252,"material":253,"size":254,"collection":138,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":40},222188,"ren-wu-gu-shi-tu-zi-lu-wen-jin-chou-ying-222188","人物故事图-子路问津","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[70,24,28,247,51,55,26,99,98,7,248,249,250,251],"工笔重彩","马车","子路问津","历史故事","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113aa636a1969d1889567021aaf7551.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米",[],63,{"id":258,"slug":259,"title":260,"dynasty":45,"author":261,"museum":193,"description":262,"tags":263,"thumbUrl":268,"material":138,"size":138,"collection":138,"collections":269,"showCount":270,"zanCount":11,"manualWeight":11,"mainColor":62},227519,"yan-jiang-die-zhang-wang-shen-227519","烟江叠嶂","王诜","《烟江叠嶂图》是宋代画家王诜创作的一幅设色画，现藏于上海博物馆。\n《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。",[70,24,116,264,71,265,27,134,7,150,266,267,260],"设色画","青绿","溪瀑","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4632dd73f474257bd583fa36c4a4a423.jpg",[],52,{"id":272,"slug":273,"title":274,"dynasty":18,"author":275,"museum":162,"description":276,"tags":277,"thumbUrl":282,"material":283,"size":138,"collection":138,"collections":284,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":40},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[70,24,49,71,51,96,25,26,55,52,278,99,279,280,7,118,78,235,281],"流水","马","岸","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg","纸本，设色",[],51,{"id":287,"slug":288,"title":289,"dynasty":45,"author":290,"museum":20,"description":291,"tags":292,"thumbUrl":297,"material":102,"size":298,"collection":36,"collections":299,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":40},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","郭熙","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,49,25,51,27,26,293,294,52,98,99,150,7,54,295,296],"烟雨","江帆","近树","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[36],47,{"id":302,"slug":303,"title":304,"dynasty":45,"author":305,"museum":20,"description":306,"tags":307,"thumbUrl":308,"material":309,"size":310,"collection":138,"collections":311,"showCount":312,"zanCount":11,"manualWeight":11,"mainColor":62},288370,"chang-jiang-wan-li-tu-qian-juan-xia-gui-288370","长江万里图前卷","夏圭","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[70,23,24,71,25,26,27,134,7,133,181,78,52,150,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e9a3edd0ece6ad4727600c15137ec4.jpg","绢","Xcm*Xcm",[],44,{"id":314,"slug":315,"title":316,"dynasty":18,"author":93,"museum":317,"description":318,"tags":319,"thumbUrl":321,"material":253,"size":322,"collection":138,"collections":323,"showCount":324,"zanCount":39,"manualWeight":11,"mainColor":40},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","辽宁省博物馆","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[70,24,49,71,51,96,265,320,32,26,55,52,7,99,98,181],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],43,{"id":326,"slug":327,"title":328,"dynasty":45,"author":261,"museum":193,"description":329,"tags":330,"thumbUrl":333,"material":334,"size":310,"collection":138,"collections":335,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":62},288552,"qing-lv-yan-jiang-die-zhang-tu-wang-shen-288552","青绿烟江叠嶂图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[70,24,23,71,116,265,51,134,7,267,331,332],"烟霭","汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d18734f1541c79770ce4644147acf82.jpg","未知",[],37,{"id":338,"slug":339,"title":340,"dynasty":45,"author":192,"museum":193,"description":341,"tags":342,"thumbUrl":343,"material":102,"size":344,"collection":36,"collections":345,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":62},218650,"qiu-jiang-fan-zhou-tu-yi-ming-218650","秋江泛舟图","绢本纹理间晕开宋时秋意。江畔疏林枯槎，枝干如铁线勾勒萧瑟之态，墨色浓淡藏叶落余韵。江面澄明似镜，一叶扁舟轻泛，舟子隐于烟波，与秋水山色相融。远山层叠，烟霭朦胧，淡墨晕染出悠远天际，将视线引向空濛深处。\n\n整幅画以简洁笔触铺陈清寂秋江，无繁复色彩，却在水墨虚实间传递宋人对自然的敬畏与隐逸情怀。每处留白皆诉时光静美，心境淡然，似能听见江风掠过枯枝的轻响，看见舟楫划过水面的微澜，于无声处藏着宋画独有的淡远与深邃。",[23,24,49,25,27,26,52,117,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe52302eecccd7943c473db2995800.jpg","25.5x25.5",[36],36,{"id":348,"slug":349,"title":350,"dynasty":45,"author":351,"museum":193,"description":352,"tags":353,"thumbUrl":359,"material":138,"size":138,"collection":138,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":62},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）","许道宁","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[70,23,24,49,71,25,27,26,134,354,99,117,7,150,355,182,55,356,357,358],"山峰","小船","岸坡","秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],34,{"id":363,"slug":364,"title":365,"dynasty":45,"author":366,"museum":193,"description":367,"tags":368,"thumbUrl":370,"material":138,"size":138,"collection":138,"collections":371,"showCount":372,"zanCount":88,"manualWeight":11,"mainColor":62},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","马和之","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[70,24,49,132,51,26,52,55,30,369,7,233],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],31,{"id":374,"slug":375,"title":376,"dynasty":377,"author":378,"museum":193,"description":379,"tags":380,"thumbUrl":383,"material":334,"size":310,"collection":138,"collections":384,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":62},288447,"jiang-xing-tu-gao-cen-288447","江行图","清","高岑","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[70,24,26,25,51,27,117,98,7,52,381,382],"小屋","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],30,{"id":387,"slug":388,"title":389,"dynasty":111,"author":390,"museum":193,"description":391,"tags":392,"thumbUrl":394,"material":334,"size":310,"collection":138,"collections":395,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":62},287595,"xue-jiang-tu-luo-zhi-chuan-287595","雪江图","罗稚川","罗稚川 江西临川人。元代著名画家。生卒年不详，大致生活于元代前期。\n生卒年不详，大致生活于元代前期。据元代虞集（1272-1348）《空山歌》载，他于“弱冠”之年，曾见罗稚川“挥翰甚风流”，从虞氏生年（1272）下推，大约在1292年时罗稚川尚在世。虞集记载了罗氏早年生涯：“忆昔侍郎镇成都，将佐盈庭宾客趋；锦官城外笳鼓发，驷马桥边高盖车。”据此，罗稚川曾是南宋时镇守四川成都的年轻将领。理宗端平三年（1236）金兵陷成都，特别是宋亡，彻底改变了他的人生道路，他开始了隐居生活。宋亡，入元不仕，以诗画自娱。",[70,24,26,25,117,208,167,54,7,118,393],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],29,{"id":398,"slug":399,"title":400,"dynasty":45,"author":401,"museum":193,"description":402,"tags":403,"thumbUrl":410,"material":334,"size":310,"collection":138,"collections":411,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":62},289838,"lu-ting-mi-xue-tu-liang-shi-min-289838","芦汀密雪图","梁师闵","描绘的是密雪覆盖着沙清丘岸的芦塘小景，将空旷清幽景象与漫天密雪的景色形成对比，是一幅山水与花鸟融汇的湖天小景佳作。",[70,23,24,49,71,51,96,26,404,405,406,7,167,407,408,32,409],"芦汀","寒树","鸥鹭","寒冬","孤寂","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e108e0525ede8d74ace20844b3898c.jpg",[],26,{"id":414,"slug":415,"title":416,"dynasty":18,"author":417,"museum":418,"description":419,"tags":420,"thumbUrl":423,"material":424,"size":425,"collection":138,"collections":426,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":138},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","文伯仁","香港中文大学文物馆","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[70,24,49,71,25,26,27,354,7,421,52,208,99,98,422],"烟雾","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","设色,纸本","25.6 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感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[70,24,49,132,51,26,320,7,54,133,581,355,98],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":585,"slug":586,"title":587,"dynasty":18,"author":192,"museum":193,"description":588,"tags":589,"thumbUrl":592,"material":138,"size":138,"collection":138,"collections":593,"showCount":594,"zanCount":11,"manualWeight":11,"mainColor":40},228350,"chun-jiang-xing-zhou-tu-ye-yi-ming-228350","春江行舟图页","近景峭峰被苍林簇拥，山石皴染细腻，草木氤氲温润生机。江面烟波澹澹，远岸晕作朦胧黛色，留白晕出濛濛水汽，晕染出暮春江天的辽远空寂。几叶扁舟缓行江上，帆影悠悠，将水居行旅的松弛闲散揉入开阔江境。\n\n此作用色雅致淡逸，以小青绿晕染山峦，无浓艳堆砌，尽显清隽澹泊。尺幅之间藏千里之势，静山与动舟相映，把春江暮景的悠然意境铺展尽致，揽入江南水天的温柔清寂，观之如沐江上春风，得小品山水的澹远意趣。",[70,24,49,590,51,26,591,99,134,7,27],"团扇","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ea2a72ac10508a352aa6f165a194fc.jpg",[],12,{"id":596,"slug":597,"title":598,"dynasty":45,"author":192,"museum":193,"description":599,"tags":600,"thumbUrl":602,"material":138,"size":138,"collection":138,"collections":603,"showCount":594,"zanCount":11,"manualWeight":11,"mainColor":62},227887,"jiang-shang-qing-feng-tu-yi-ming-227887","江上青峰图","采用边角式取景，右下隅青峰峭立，青绿敷色晕染石身，深墨点簇林木，尽显山石挺秀之姿。空阔江面铺陈开淡远烟波，几叶扁舟悠然泛于粼粼水波之上，将江南水色的清旷柔婉与峰石苍劲相融。\n\n咫尺扇面间以小见大，铺展出江天寥廓的无尽余韵，把烟波江上的空寂悠然藏于方寸，尽显对山水诗意的精微捕捉，带着宋代院体山水雅致清隽的意趣。",[70,23,24,49,132,51,265,26,27,52,601,7],"青峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ce79053f855d19971de523413bbc8.jpg",[],{"id":605,"slug":606,"title":607,"dynasty":377,"author":608,"museum":219,"description":609,"tags":610,"thumbUrl":612,"material":138,"size":138,"collection":36,"collections":613,"showCount":594,"zanCount":11,"manualWeight":11,"mainColor":614},201528,"wu-xia-qiu-tao-tu-zhou-yuan-jiang-201528","巫峡秋涛图轴","袁江","巫峡险峻之势凝于画卷，山峦叠嶂间，界画勾勒的楼阁倚崖而立，线条精巧工致。山石以皴法表现肌理，墨色浓淡交织出林木葱茏之态。江中秋涛奔涌，波涛起伏间，一叶扁舟破浪前行，船身细节入微。远山云雾缥缈，近麓茅屋隐现，添了几分幽居意趣。整幅画融山水雄奇与建筑精巧，动静相济，尽显巫峡秋日壮景与文人山水情怀。",[611,27,26,181,52,7,134,267,56,70],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cfe5b5cdcd135532c2bcae734a5f67.jpg",[36],"896f60",{"id":616,"slug":617,"title":618,"dynasty":18,"author":619,"museum":193,"description":620,"tags":621,"thumbUrl":622,"material":334,"size":310,"collection":138,"collections":623,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":62},237119,"qiu-jiang-fan-ting-shan-ye-wu-zhen-237119","秋江泛艇扇页","吴振","吴振（？—1632后）字振之，一作元振，号竹屿、雪鸿。华亭（今上海松江）人。\n善画山水，师法黄公望，兼习董源、倪瓒、王蒙诸家，笔墨秀润，尤工枯树，临宋元名迹更佳，画风与赵左、沈士充接近，得董其昌赏识，为云间正宗。作画刻意求精，稍不满意即焚去，传世作品不多。子昌，字昌伯，亦能继承家学。",[24,132,25,26,27,7,52,99,98,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bb6cce3e2acb6318fa7afd55961a11.jpg",[],11,{"id":626,"slug":627,"title":628,"dynasty":18,"author":629,"museum":193,"description":630,"tags":631,"thumbUrl":632,"material":334,"size":310,"collection":138,"collections":633,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":62},236667,"qiu-jiang-diao-ting-shan-ye-song-jue-236667","秋江钓艇扇页","宋珏","宋珏（1576—1632）明代诗人、书画家。字比玉，号荔支子，浪道人、国子仙，福建莆田人。国子监生。漫游吴越，客死吴地，工书画篆刻。山水学米氏、黄公望、吴镇，用笔苍老秀逸，不拘于法，兼善画松。",[132,25,26,52,7,208,369,27,409,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa005189c8c25c3552046034c87135ba8.jpg",[],{"id":635,"slug":636,"title":637,"dynasty":18,"author":638,"museum":193,"description":639,"tags":640,"thumbUrl":641,"material":138,"size":138,"collection":138,"collections":642,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":40},234633,"fang-wang-shu-ming-qiu-jiang-shi-si-shan-ye-lan-ying-234633","仿王叔明秋江诗思扇页","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[132,25,51,27,26,52,99,581,7,98,444,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b9e0bcf75000775f2e827ede181c39.jpg",[],{"id":644,"slug":645,"title":646,"dynasty":377,"author":204,"museum":193,"description":647,"tags":648,"thumbUrl":649,"material":334,"size":310,"collection":138,"collections":650,"showCount":651,"zanCount":11,"manualWeight":11,"mainColor":62},238956,"sheng-mao-san-xia-qu-tang-tu-ye-sheng-mao-238956","盛懋三峡瞿塘图页","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[24,49,132,51,26,151,7,52,99,54,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef4ede6cc5bdcd57328bb710edec5db.jpg",[],10,{"id":653,"slug":654,"title":655,"dynasty":45,"author":192,"museum":193,"description":656,"tags":657,"thumbUrl":661,"material":334,"size":310,"collection":138,"collections":662,"showCount":663,"zanCount":11,"manualWeight":11,"mainColor":40},289452,"cheng-jiang-bi-xiu-tu-yi-ming-289452","澄江碧岫图","此作为边角取景的山水小品，左实右虚，将江南烟水意蕴纳于尺幅间。峭拔山石以青绿晕染，石色清润雅致，与赭色底色相融，古松苍劲虬曲，栖于岩岸，茅庐隐于林下，野趣悠然。空阔江面之上，数艘扁舟缓行，破开一江澄澈。远景远山以淡墨晕散，隐没于烟霭之中，虚实相映间，江天浩渺的静穆清旷扑面而来。画作简淡清远，以小见大，尽得清隽温润之韵，将寄情山水的幽远意趣藏在每一处晕染勾勒中，尽显江南水色的空灵闲雅。",[132,24,23,265,51,116,658,7,591,267,659,54,208,660],"青山","茅舍","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7decbafa7e5bee3ec097a1a143c123e2.jpg",[],9,{"id":665,"slug":666,"title":667,"dynasty":111,"author":129,"museum":317,"description":668,"tags":669,"thumbUrl":670,"material":253,"size":671,"collection":138,"collections":672,"showCount":663,"zanCount":11,"manualWeight":11,"mainColor":62},221866,"cheng-jiang-han-yue-tu-zhao-yong-221866","澄江寒月图","此图为《唐宋元集绘册》中的第十四幅。作者用大片的空白和淡墨淡彩渲染出一种空旷寒峭的境界。\n画面中一轮圆月当空，江水苍茫，隐约可见远山起伏。近岸巨石枯树，有一孤舟停泊，仓内一人独坐。",[70,132,24,49,320,51,26,52,550,117,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa397f5a6352c3ac829dc31fde3ebbda3.jpg","纵：25.5厘米，横：24.8厘米",[],{"id":674,"slug":675,"title":676,"dynasty":45,"author":192,"museum":193,"description":677,"tags":678,"thumbUrl":680,"material":334,"size":310,"collection":138,"collections":681,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":171},289568,"jiang-shan-fei-niao-tu-yi-ming-289568","江山飞鸟图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[24,23,116,25,208,118,98,7,54,55,679],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec350e5d692b211df8cd206de5edc7.jpg",[],8,{"id":684,"slug":685,"title":686,"dynasty":18,"author":687,"museum":193,"description":688,"tags":689,"thumbUrl":692,"material":334,"size":310,"collection":138,"collections":693,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":62},287829,"jin-shan-sheng-gai-tu-li-zhou-zhang-hong-287829","金山胜概图立轴","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。",[70,24,50,25,26,181,690,691,7,99,27],"佛塔","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cebadaef0cf6edd12f7d29b4761e13c.jpg",[],{"id":695,"slug":696,"title":697,"dynasty":377,"author":698,"museum":193,"description":699,"tags":700,"thumbUrl":710,"material":138,"size":138,"collection":138,"collections":711,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":40},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","王原祁","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[70,24,71,116,701,51,27,702,134,703,704,705,7,706,707,708,409,32,709],"文人画","平湖","村居","渔舟","汀渚","秋暮","幽寂淡远","清旷","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],{"id":713,"slug":714,"title":598,"dynasty":45,"author":192,"museum":193,"description":715,"tags":716,"thumbUrl":717,"material":334,"size":310,"collection":138,"collections":718,"showCount":719,"zanCount":11,"manualWeight":11,"mainColor":40},290108,"jiang-shang-qing-feng-tu-yi-ming-290108","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[70,23,24,132,116,265,51,52,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b8e18a825b8192f03568bd9cc4d7c4a.jpg",[],6,{"id":721,"slug":722,"title":723,"dynasty":377,"author":724,"museum":162,"description":725,"tags":726,"thumbUrl":727,"material":153,"size":728,"collection":36,"collections":729,"showCount":719,"zanCount":11,"manualWeight":11,"mainColor":40},238984,"shan-shui-ce-shi-tian-weng-shi-ji-fang-qi-yi-wang-chen-238984","山水册－石田翁诗即仿其意","王宸","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[24,49,28,25,26,52,99,98,7,320,32,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb66ca56fcaf326605d5fcd8a0d47e37.jpg","纵21厘米，横28.2厘米",[36],{"id":731,"slug":732,"title":733,"dynasty":18,"author":192,"museum":193,"description":734,"tags":735,"thumbUrl":736,"material":138,"size":138,"collection":138,"collections":737,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":62},228788,"han-jiang-yu-jia-tu-yi-ming-228788","寒江渔家图","此作用淡墨晕染出萧寒冬日的江野之景。前景老树虬曲苍劲，枯槎间缀着残雪与点点红萼，荒寒里透出一缕生机。寒江之上，孤舟泛波，舟头渔者瑟缩，暗合冬日生计的清苦。远山覆雪，以淡笔轻勾，衬出江天空蒙冷寂。全画笔法简淡空灵，将江乡冬日的荒寒静穆悉数铺展，把渔家漂泊的清寂与山水的悠远相融，于萧索冷冽的意境里，藏着水墨山水独有的空雅致趣，尽显冬日江野的澹泊清寂之美。",[70,24,51,26,52,117,98,7,369,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af03191cefa620a2ca42015524e4fb9.jpg",[],5,{"id":740,"slug":741,"title":742,"dynasty":111,"author":743,"museum":20,"description":744,"tags":745,"thumbUrl":750,"material":751,"size":752,"collection":138,"collections":753,"showCount":754,"zanCount":11,"manualWeight":11,"mainColor":62},221732,"tang-ren-jue-ju-zhou-zhang-yu-221732","唐人绝句轴","张雨","张雨（西元一二八三－一三五０年），字伯雨，号句曲外史，浙江钱塘人。元代着名的道教人物。文才清丽，书画清逸，倪瓒称其诗文字画为「道品第一」。 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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。",[70,24,49,71,25,26,27,320,32,30,133,98,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0508feeed1b0e9cd3ecabf7ad66ce29.jpg",[],{"id":765,"slug":766,"title":767,"dynasty":377,"author":192,"museum":193,"description":768,"tags":769,"thumbUrl":773,"material":334,"size":310,"collection":138,"collections":774,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},272863,"zi-tan-mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272863","紫檀木边画玻璃山水图挂屏","此作以玻璃为底，晕染出缥缈仙山胜境。近崖临水立起四方亭台，碧波粼粼拍打着岸石，山道蜿蜒穿梭于苍松石间，草木鲜亮点缀其间。云气如练缠绕山谷，将中景奇峰托起，琼楼殿宇半藏于云岫翠微间，远景青峰破云而出，在朦胧天光下愈显幽远空灵。\n\n创作者糅合西洋光影晕染技法，让云雾虚实层次柔和通透，又恪守传统界画工整雅致的意韵，将世外山居的清雅理想藏入画中。温润古朴的紫檀边框呼应冷冽通透的玻璃画面，让这方洞天愈发清虚超脱，尽显清代玻璃画中西合璧的别致风韵，将悠远的仙道意韵晕染得诗意盎然。",[24,770,771,51,611,26,181,78,150,7,772],"挂屏","玻璃画","山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd757b58b9b10f501bed2a8d840da8f.jpg",[],{"id":776,"slug":777,"title":778,"dynasty":45,"author":192,"museum":162,"description":779,"tags":780,"thumbUrl":783,"material":477,"size":784,"collection":138,"collections":785,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},234021,"qiu-jiang-ming-po-tu-ye-yi-ming-234021","秋江瞑泊图页","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等",[24,49,28,25,51,26,30,52,7,98,27,444,781,782],"瞑泊","暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8612cfd66e5d358d524ad043ce2f177d.jpg","23.7×24.3cm",[],{"id":787,"slug":788,"title":789,"dynasty":18,"author":790,"museum":791,"description":792,"tags":793,"thumbUrl":795,"material":58,"size":796,"collection":138,"collections":797,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},217871,"zhou-li-yuan-shang-kuan-shen-ce-qi-hu-yu-kun-217871","周栎园上款什册(七)","胡玉昆","大英博物馆","远山如黛染轻烟，近水含光映空濛。淡墨晕开的峰峦似隐似现，几抹青绿点染出苍润之态，水面波纹疏疏，衬得天地愈发清旷。笔墨写意却藏细腻，每一笔都似带着悠然的心境。旁侧题跋字迹流转，与山水景致相契，文字的闲情与画面的雅致交融，仿佛能窥见作者行旅途中的片刻凝思，或是对自然风物的深情咏叹。整幅作品将绘事与书道、诗意相融，尽显文人画的韵致，观之如入幽境，心随山水悠远。",[24,49,28,25,51,26,320,32,134,150,7,794,591,409],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4669799fb6d97445d20ba3726ed1a985.jpg","24.7x32.3cm",[],{"id":799,"slug":800,"title":801,"dynasty":377,"author":759,"museum":219,"description":802,"tags":803,"thumbUrl":804,"material":138,"size":138,"collection":36,"collections":805,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":806},201339,"zhong-jiang-die-zhang-tu-juan-wang-hui-201339","重江叠嶂图卷","层峦叠嶂绵延铺展，江水蜿蜒穿流其间，长卷开合间尽显山水之胜。山石以皴法刻画肌理，笔墨苍劲又含秀逸；云雾借水墨晕染，朦胧中见深远意境。林木错落有致，亭台隐约点缀，动静相生，藏露得宜，于自然丘壑间融注人文情韵。师法宋元诸家而自出机杼，笔墨醇厚，构图深远，是清代山水画中兼具传统意蕴与个人风格的精品。",[24,71,26,25,27,78,99,134,7,49,23,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9d82204898ee5bcb93d43fbeb2a21d.jpg",[36],"000000",{"id":808,"slug":809,"title":810,"dynasty":45,"author":192,"museum":193,"description":811,"tags":812,"thumbUrl":816,"material":334,"size":310,"collection":138,"collections":817,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},253749,"cao-e-tou-jiang-zhuan-diao-yi-ming-253749","曹娥投江砖雕","青砖为纸，浅浮雕作笔，翻涌江浪铺就怆然底色。孝女垂首扶岸恸哭，衣袂褶皱随悲戚情态自然舒展，将寻父不得的绝望与决绝熔铸于方寸砖面。上方题榜暗合故事内核，刀工凝练朴拙，以极简线条勾勒恸哭神态与奔涌江水，把千古孝行定格为可触摸的具象。民间工匠以素朴的雕刻语言，将对孝义的推崇凝入青砖，让沉恸的瞬间跨越岁月，成为传统忠孝品格的无声注脚。",[178,813,814,55,7,815],"砖雕","浮雕","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2541528e0039f455f6c5f24bb407bcc2.jpg",[],{"id":819,"slug":820,"title":821,"dynasty":18,"author":822,"museum":193,"description":823,"tags":824,"thumbUrl":826,"material":334,"size":310,"collection":138,"collections":827,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},240955,"san-wu-mo-miao-ce-chi-bi-fu-jin-cong-240955","三吴墨妙册-赤壁赋","金琮","金琮(1449--1501)，明代人，字元玉，自号赤松山农，金陵(今南京)人。少聪颖，好吟咏，善书画，年十二、三即能大书。初法赵孟頫，晚学张雨。画梅学扬无咎。",[825,49,409,320,28,32,25,550,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69b9cad30fda3171860a132b47eb199c.jpg",[],{"id":829,"slug":830,"title":831,"dynasty":377,"author":832,"museum":219,"description":833,"tags":834,"thumbUrl":835,"material":138,"size":138,"collection":36,"collections":836,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":837},201340,"jiang-gan-feng-yu-tu-zhou-fan-qi-201340","江干风雨图轴","樊圻","淡赭设色晕染江天，山峦以披麻皴勾勒苍润纹理。近坡枯树虬枝盘桓，笔意老辣；中景江面帆影摇曳，舟楫浮沉于烟波；岸边屋舍错落，小桥上人物行色匆匆，烟火气与自然景交融。远景层峦叠嶂，云雾缭绕间与江水相映，意境悠远。整幅画作工细中见写意，将江干风雨之态与人间百态凝于笔墨，尽显江南水乡的温婉苍茫。",[24,26,51,27,7,537,134,77,99,96,55,49,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3076d4023f1435585cb0b04ae9e08e73.jpg",[36],"ae8557",1777535707089]