[{"data":1,"prerenderedAt":461},["ShallowReactive",2],{"subject-jin-an":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},535,"jin-an","近岸","近岸画高清赏析","精选中国历代近岸题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5fb6dcf40edda0adca7a9f7e599e98.jpg",0,30,[14,45,68,88,102,122,138,151,185,195,217,227,242,255,268,280,292,302,320,330,341,351,373,383,392,402,411,419,427,435],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","明","沈周","辽宁省博物馆","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,24,25,26,27,28,29,30,31,32,33,34,7,35],"高清","国画","水墨","长卷","皴法","山水","孤舟","树木","云雾","山石","瀑布","远山","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","纸本，水墨","50*1165cm","山水画精选",[39,41],"水墨画精选",871,3,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":60,"material":61,"size":62,"collection":63,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":67},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","宋","李唐","台北故宫博物院","此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。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,54,26,28,27,55,32,30,56,57,33,58,34,7,59],"名画","设色","渔船","流水","舟楫","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","绢本","纵49.7厘米，横186.7厘米","宋画精选",[63,39,41],232,2,"795548",{"id":69,"slug":70,"title":71,"dynasty":18,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":83,"material":84,"size":85,"collection":85,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":67},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","藏地不详","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,76,26,77,55,25,27,28,30,32,78,57,29,79,35,80,34,7,81,59,82],"书画","临摹","小桥","亭","茅屋","峭壁","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg","纸本，设色","",[],230,{"id":89,"slug":90,"title":91,"dynasty":49,"author":92,"museum":73,"description":93,"tags":94,"thumbUrl":98,"material":85,"size":85,"collection":85,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","荆浩","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,54,24,76,95,25,27,28,29,57,79,96,30,35,34,7,97],"立轴","飞鸟","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],63,"37474F",{"id":103,"slug":104,"title":105,"dynasty":106,"author":107,"museum":108,"description":109,"tags":110,"thumbUrl":117,"material":118,"size":119,"collection":39,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":67},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","山水图卷","清","张赐宁","美国大都会艺术博物馆","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,76,26,25,55,28,27,111,112,113,29,114,115,116,34,7],"山","水","河流","松树","房屋","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 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x274.0厘米",[39,41],60,{"id":123,"slug":124,"title":125,"dynasty":126,"author":127,"museum":128,"description":129,"tags":130,"thumbUrl":133,"material":134,"size":135,"collection":39,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":67},218215,"xi-shan-gui-zhou-tu-yi-ming-218215","溪山归舟图","元","佚名","南京博物院","溪山归舟图被认为是元朝时期图画艺术的代表作之一，其中蕴含着浓厚的儒家思想。儒家认为，人生最大的幸福就是能够返璞归真，回归自然界的本真状态。这幅图画描绘的少年漂流在溪水中，似乎也在暗示人应该摆脱尘世的束缚，回归自然界的真理。\n\n溪山归舟图的风格独特，它采用了轻巧的线条和柔和的色彩，呈现出一种清新、自然的感觉。这种艺术风格与元朝时期的文人墨客们崇尚的“写意”艺术风格相似，都强调自然、随意、自由。\n\n总的来说，溪山归舟图是元朝时期著名的图画作品，其中蕴含着浓厚的儒家思想，艺术风格独特，值得我们细细品味。",[24,25,27,28,29,131,116,34,132,7],"树","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c9c60f7dd5a55cb83dd74a5fbeefb3.jpg","纸本,水墨","168x103cm",[39],57,{"id":139,"slug":140,"title":141,"dynasty":49,"author":142,"museum":73,"description":143,"tags":144,"thumbUrl":147,"material":55,"size":148,"collection":63,"collections":149,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":67},221424,"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵","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。",[23,54,24,76,145,55,27,28,30,146,82,34,7,116],"册","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[63,39,41],56,{"id":152,"slug":153,"title":154,"dynasty":18,"author":155,"museum":51,"description":156,"tags":157,"thumbUrl":179,"material":180,"size":181,"collection":39,"collections":182,"showCount":183,"zanCount":184,"manualWeight":11,"mainColor":67},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,55,28,158,29,159,160,161,34,31,57,162,131,163,164,97,165,166,167,168,58,169,170,171,7,172,173,132,174,175,176,177,178],"工笔","渔乐","竹","渔夫","岸","草","芦苇","岸石","枯树","汀渚","渔人","烟波","浅滩","丛竹","远岫","霭气","坡岸","草木","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[39,41],48,1,{"id":186,"slug":187,"title":188,"dynasty":49,"author":189,"museum":73,"description":190,"tags":191,"thumbUrl":192,"material":85,"size":85,"collection":85,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":67},228914,"dai-du-tu-guo-xi-228914","待渡图","郭熙","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,54,24,76,26,28,27,55,78,57,29,79,30,32,35,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],45,{"id":196,"slug":197,"title":198,"dynasty":126,"author":199,"museum":51,"description":200,"tags":201,"thumbUrl":211,"material":212,"size":213,"collection":39,"collections":214,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":67},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","赵孟頫","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,76,26,25,55,158,27,202,203,204,28,205,206,113,30,115,207,172,208,209,210,7],"书法","行书","印章","孤山","平原","村落","近水","平野","远树","https:\u002F\u002Foss.c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　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,76,145,25,55,27,28,35,264,29,57,32,30,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":18,"author":355,"museum":356,"description":357,"tags":358,"thumbUrl":369,"material":370,"size":85,"collection":85,"collections":371,"showCount":372,"zanCount":11,"manualWeight":11,"mainColor":44},216323,"han-xi-meng-xiu-song-yuan-ming-ji-ce-mi-hua-shan-shui-tu-han-xi-meng-216323","韩希孟绣宋元名迹册·米画山水图","韩希孟","私人收藏","绣线作墨，晕染出米家云山的空濛气韵。远山以淡丝叠缀，烟岚似在丝缕间浮动；近树用细针勾枝，苍劲中藏着秀逸之态。孤舟泊于浩渺水面，针脚疏密交织，水的清寂与山的悠远悄然相融。以绣代笔，将宋元山水的笔墨意趣化为丝缕的韵律，每一针都凝着对古画的深悟——既有绘画的空灵气韵，又有丝线特有的温润质感，尽显明代闺阁绣艺的精妙与雅致，让山水的悠远意境在丝帛上静静流淌。",[359,76,24,223,25,360,77,361,27,362,363,28,29,30,34,7,364,31,365,366,367,368,204,202],"刺绣","仿古","米点皴","宋元风格","刺绣技法","水面","山峦","小岛","孤帆","岸边树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d87539d4a7a2aa7cc22219189d23a0e.jpg","纸本,设色",[],10,{"id":374,"slug":375,"title":376,"dynasty":106,"author":377,"museum":73,"description":378,"tags":379,"thumbUrl":380,"material":85,"size":85,"collection":85,"collections":381,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":44},238226,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238226","仿王翬山水册","曹夔音","此作取山林晓景，近岸怪石错落，古寺藏于深林，溪桥引渡山径，远峰隐在烟岚轻雾间。笔墨清润苍秀，皴擦兼具苍劲秀雅意韵，布景疏密相宜，将空山晓钟的幽寂禅意晕染开来。\n\n淡墨设色晕出空濛澄澈的湖光山色，静穆恬和的意境藏在湖山深处。左侧题诗与画境相契，诗书画合为一体，尽显文人雅趣，将山寺清晨的清寂出尘融在山水间，尽显仿古山水的清丽韵致。",[24,76,25,27,77,28,264,78,57,29,79,30,32,31,172,7,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F457231bba39a2a53c514ce0d5484f458.jpg",[],6,{"id":384,"slug":385,"title":386,"dynasty":18,"author":387,"museum":73,"description":388,"tags":389,"thumbUrl":390,"material":316,"size":317,"collection":85,"collections":391,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":44},235770,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-bai-lian-jing-tu-ye-lu-zhi-235770","吴门诸家寿袁方斋三绝册-白莲泾图页","陆治","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。",[24,76,145,25,28,57,30,34,7,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2e309fbe02004711f5f56e85083f44.jpg",[],{"id":393,"slug":394,"title":395,"dynasty":106,"author":396,"museum":73,"description":397,"tags":398,"thumbUrl":399,"material":85,"size":85,"collection":85,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":44},234623,"qiu-jiang-fang-you-wan-shan-hu-yuan-234623","秋江访友纨扇","胡远","胡远 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明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,25,28,408,29,96,34,7,57,145,27],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1016ef071d4b53509785de02dc280b59.jpg",[],{"id":412,"slug":413,"title":333,"dynasty":106,"author":414,"museum":73,"description":415,"tags":416,"thumbUrl":417,"material":85,"size":85,"collection":85,"collections":418,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":44},239044,"shan-shui-ce-wu-lin-239044","吴麐","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[54,24,25,27,145,28,79,29,408,235,34,7,30,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10abb4a9cea588c79e458516e9c3c1bb.jpg",[],{"id":420,"slug":421,"title":376,"dynasty":106,"author":377,"museum":73,"description":422,"tags":423,"thumbUrl":425,"material":85,"size":85,"collection":85,"collections":426,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":44},238217,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238217","此作用浅绛设色绘秋山平远之景，云雾翻涌裹挟峰峦，虚实间晕染出空濛烟岚之态。近岸苍松错落，林麓村舍隐现，江水蜿蜒如练，载着清寂秋意缓缓铺展。\n笔墨追摹古法，皴擦温润苍秀，设色淡雅柔和，将暮秋山林的萧疏静谧晕染尽致。搭配题诗题跋，诗画合璧，尽显文人山水的雅致意趣，于尺幅间铺展出林泉幽寂之美，笔底藏着从容古韵，将悠然林下襟怀融于淡远氤氲之中。",[24,76,145,25,55,27,77,28,365,31,113,30,34,7,424],"丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc48bcb368250e04d6101e309e967d0.jpg",[],{"id":428,"slug":429,"title":333,"dynasty":106,"author":430,"museum":73,"description":431,"tags":432,"thumbUrl":433,"material":85,"size":85,"collection":85,"collections":434,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":44},238014,"shan-shui-ce-lu-zun-shu-238014","陆遵书","此作用淡墨晕染远山，山峦起伏含烟，似笼轻雾，空濛悠远如梦境。留白作万顷烟波，寥寥数笔勾勒渔舟，或浮于江心，或依傍山隈，自在安然。近岸以焦墨点簇草树野丛，朴拙苍劲，与远山的润淡形成浓淡对撞，铺展出远近层次。右上角朱印题字，为素洁画面晕开一抹文气亮色。\n\n全画以极简水墨语言，尽写江乡闲寂野趣，把寄情林泉、追慕幽隐的意绪藏在晕染留白之中，淡而不疏，简中见韵，尽显文人山水画的雅致空灵。",[24,25,145,27,28,34,7,29,96,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088d17a55382d3eb197741d517b47843.jpg",[],{"id":436,"slug":437,"title":438,"dynasty":345,"author":127,"museum":73,"description":439,"tags":440,"thumbUrl":459,"material":85,"size":85,"collection":85,"collections":460,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":44},225359,"fu-shi-hui-115-yi-ming-225359","浮世绘115","这幅版画以明媚春景入画，岛屿错落于澄澈水色间，漫山樱花如云似雪，苍松点缀翠色，晕染出融融春意。回环山径上踏青游人缓步徐行，渡头与岸畔人影攒动，乌篷船静泊水面，波痕轻漾晕开清浅蓝调。屋舍错落花林间，木桥勾连水岸，将春日郊野的鲜活烟火铺陈开来。\n\n用色明快柔婉，石青铺就水天，砂黄晕染坡岸，粉白樱枝与深松翠影相映成趣，带着日式版画独有的装饰意趣。构图疏密得宜，将踏青的闲雅盛景定格，把市井闲情与春日诗意揉为一处，尽显雅致悠然的和风美学。",[441,442,55,28,78,57,82,115,30,35,443,444,445,446,447,448,449,450,451,132,452,453,58,454,455,456,457,458,7],"浮世绘","木刻","岛屿","湖泊","路径","岸边","开花植物","海湾","行船","屋舍","步道","绿植","行人","堤岸","林间小路","水岸人家","花树","远岛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89971454455ccd323ecef04635e7d4f.jpg",[],1777535715132]