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(1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[23,24,63,27,26,37,28,136,137,32,87,103,138,40,7,31],"山","水","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[48,92],49,{"id":145,"slug":146,"title":147,"dynasty":58,"author":148,"museum":149,"description":150,"tags":151,"thumbUrl":162,"material":46,"size":163,"collection":48,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":53},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","萧云从","天津博物馆","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,27,25,37,28,65,32,152,66,125,35,31,40,7,153,154,155,156,108,157,158,159,160,161],"楼阁","林木","丘壑","路径","屋舍","峰峦","苔点","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[48,50],46,{"id":167,"slug":168,"title":169,"dynasty":58,"author":170,"museum":60,"description":171,"tags":172,"thumbUrl":173,"material":174,"size":175,"collection":90,"collections":176,"showCount":177,"zanCount":113,"manualWeight":11,"mainColor":53},234084,"wu-zhong-shan-shui-ce-shen-zhou-234084","吴中山水册","沈周","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,63,64,26,37,68,69,28,152,66,42,65,32,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca6fe60aab5ac5d2bd9165817433d9c.jpg","纸本","28.5*25.5cm",[],42,{"id":179,"slug":180,"title":181,"dynasty":18,"author":182,"museum":100,"description":183,"tags":184,"thumbUrl":188,"material":174,"size":90,"collection":48,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":53},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","王原祁","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[24,63,185,26,37,70,28,32,186,108,40,7,187,123],"立轴","岩石","中景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[48,92],40,{"id":192,"slug":193,"title":194,"dynasty":18,"author":195,"museum":60,"description":196,"tags":197,"thumbUrl":202,"material":203,"size":204,"collection":48,"collections":205,"showCount":206,"zanCount":113,"manualWeight":11,"mainColor":53},236769,"zhu-qu-zhou-wang-hui-236769","竹趣轴","王翚","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,185,26,37,28,198,108,65,32,199,40,7,200,201],"竹","小屋","亭榭","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a53edaed5daacf78869c55444abcab9.jpg","纸本，墨笔","纵138.8厘米，横29.9厘米",[48,92],36,{"id":208,"slug":209,"title":210,"dynasty":211,"author":212,"museum":213,"description":214,"tags":215,"thumbUrl":222,"material":223,"size":224,"collection":48,"collections":225,"showCount":226,"zanCount":113,"manualWeight":11,"mainColor":53},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图","元","方从义","费城艺术博物馆","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,63,27,26,37,216,68,28,30,31,32,67,125,85,186,217,108,40,7,218,219,220,221,69],"书法","植被","留白","写意","笔墨","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","纸本,水墨","24.8x108cm",[48],35,{"id":228,"slug":229,"title":230,"dynasty":18,"author":195,"museum":231,"description":232,"tags":233,"thumbUrl":238,"material":239,"size":90,"collection":90,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":53},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1","私人收藏","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,63,64,26,37,234,28,32,34,235,67,40,7,236,237],"仿古","石头","枯树","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg","纸本,设色",[],34,{"id":243,"slug":244,"title":245,"dynasty":246,"author":247,"museum":100,"description":248,"tags":249,"thumbUrl":255,"material":90,"size":90,"collection":90,"collections":256,"showCount":257,"zanCount":113,"manualWeight":11,"mainColor":94},227768,"shan-shui-ye-li-tang-227768","山水页","宋","李唐","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,63,84,26,37,250,28,152,251,32,65,252,253,254,40,7,123,236,124],"册页","孤舟","水域","船只","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],29,{"id":259,"slug":260,"title":261,"dynasty":18,"author":262,"museum":81,"description":263,"tags":264,"thumbUrl":268,"material":89,"size":269,"collection":48,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":53},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴","董邦达","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,28,26,25,37,185,30,32,86,66,108,31,87,186,265,266,104,158,40,7,218,219,267],"丛林","谷地","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[48,92],26,{"id":273,"slug":274,"title":275,"dynasty":18,"author":276,"museum":81,"description":277,"tags":278,"thumbUrl":280,"material":174,"size":281,"collection":48,"collections":2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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。",[306,307,25,308,309,310,109,311,87,312,313,314,315,316,104,123,7],"印象派","油画","悬崖","大海","沙滩","帆船","草地","天空","海岸线","海浪","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154be1a926a1c99feae1f17fe44cf22.jpg","未知","Xcm*Xcm","油画精选",[320],22,{"id":324,"slug":325,"title":326,"dynasty":58,"author":327,"museum":100,"description":328,"tags":329,"thumbUrl":331,"material":318,"size":319,"collection":90,"collections":332,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":53},234842,"she-se-shan-shui-shan-ye-zhao-zuo-234842","设色山水扇页","赵左","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[24,330,25,28,37,295,65,109,40,7,87],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40447eb24194def73a273649f11f6185.jpg",[],16,{"id":335,"slug":336,"title":337,"dynasty":58,"author":338,"museum":60,"description":339,"tags":340,"thumbUrl":342,"material":343,"size":344,"collection":90,"collections":345,"showCount":346,"zanCount":113,"manualWeight":11,"mainColor":94},234875,"yin-bao-jie-shan-tu-zhou-wang-wen-234875","隐宝界山图轴","王问","画中所绘当为宝界山实景。筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。王问之作传世不多，得此盛年鼎绝作品实为不易。\n此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生（1908-1990年）于1949年购于广州。1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。",[24,185,28,26,37,32,152,65,87,40,341,254,265,7,123],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de3f53df33e51fc5b44308bff63eca.jpg","绢本，墨笔","纵116厘米，横62.5厘米",[],14,{"id":348,"slug":349,"title":350,"dynasty":58,"author":351,"museum":100,"description":352,"tags":353,"thumbUrl":354,"material":318,"size":319,"collection":90,"collections":355,"showCount":356,"zanCount":11,"manualWeight":11,"mainColor":357},237964,"shan-shui-shan-ye-wen-bo-ren-237964","山水扇页","文伯仁","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[330,26,37,28,32,65,67,109,66,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d74be524d3c7e5a4ee1128812e7204.jpg",[],12,"F48FB1",{"id":359,"slug":360,"title":361,"dynasty":18,"author":362,"museum":100,"description":363,"tags":364,"thumbUrl":367,"material":90,"size":90,"collection":90,"collections":368,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":53},238229,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238229","仿王翬山水册","曹夔音","此作用笔苍秀老辣，以披麻皴晕染山峦肌理，石骨硬朗不失温润质感。近溪错落排布屋舍林木，寥寥数笔点染出山居清寂之趣，远山晕以浅黛，虚实相映，晕染出空濛淡远的秋山氛围。\n\n整幅追摹古贤笔意，将林下幽居的静穆诗意融于尺幅之间，题跋诗文与绘景相得益彰，尽显文人画诗画交融的雅致意趣。笔墨间浸透着内敛沉静的古雅格调，铺陈出秋日山居萧散淡远的悠悠意境，观之如临其境，仿若可闻溪声林籁，沉潜于幽寂山居的澹泊况味中。",[24,63,28,64,26,37,65,32,67,31,40,7,85,216,365,366],"浅设色","传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a306cc9ec5feefb9c0dd7065e0a00b.jpg",[],10,{"id":371,"slug":372,"title":373,"dynasty":18,"author":374,"museum":375,"description":376,"tags":377,"thumbUrl":378,"material":239,"size":379,"collection":90,"collections":380,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":53},216975,"fang-song-yuan-shan-shui-ce-9-wang-jian-216975","仿宋元山水册-9","王鉴","上海博物馆","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,84,24,63,26,37,70,64,28,65,108,32,40,7,236,186,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd859c8b90e8e3f47472da8cbc74.jpg","纵55.4厘米，横36.0厘米",[],{"id":382,"slug":383,"title":350,"dynasty":58,"author":384,"museum":100,"description":385,"tags":386,"thumbUrl":388,"material":318,"size":31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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n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，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[330,24,398,37,25,136,387,65,35,40,7,295,104],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f39de867eab103772580eacab4813bc.jpg",[],{"id":402,"slug":403,"title":404,"dynasty":58,"author":405,"museum":100,"description":406,"tags":407,"thumbUrl":408,"material":90,"size":90,"collection":90,"collections":409,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":357},234542,"shan-shui-shan-wei-zhi-huang-234542","山水扇","魏之璜","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,63,330,26,37,28,251,32,65,33,109,186,153,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14c8d9009f51d706882f0458f6f08902.jpg",[],7,{"id":412,"slug":413,"title":414,"dynasty":18,"author":415,"museum":100,"description":416,"tags":417,"thumbUrl":418,"material":90,"size":90,"collection":90,"collections":419,"showCount":410,"zanCount":113,"manualWeight":11,"mainColor":53},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","傅山","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[23,24,63,26,37,64,28,32,65,87,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":18,"author":424,"museum":375,"description":425,"tags":426,"thumbUrl":427,"material":223,"size":428,"collection":90,"collections":429,"showCount":430,"zanCount":11,"manualWeight":11,"mainColor":53},214698,"shan-shui-ce-10-gao-xiang-214698","山水册-10","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[24,26,64,37,28,387,87,40,7,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eab95424d49319149dcee15d4bf78f.jpg","纵23.9 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苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,63,330,58,26,37,28,32,65,40,7,109,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd673f3abfb96c6dbc26a9f6cabad93ef.jpg",[],5,{"id":441,"slug":442,"title":443,"dynasty":18,"author":444,"museum":100,"description":445,"tags":446,"thumbUrl":449,"material":90,"size":90,"collection":90,"collections":450,"showCount":451,"zanCount":11,"manualWeight":11,"mainColor":53},237867,"shan-shui-tu-ce-jin-xue-jian-237867","山水图册","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[24,63,64,26,25,28,37,125,35,30,32,447,67,217,40,7,448],"田野","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143db4af058fe90f4e3815f655e91d60.jpg",[],4,{"id":453,"slug":454,"title":455,"dynasty":58,"author":456,"museum":100,"description":457,"tags":458,"thumbUrl":459,"material":318,"size":319,"collection":90,"collections":460,"showCount":451,"zanCount":11,"manualWeight":11,"mainColor":53},237546,"shi-dao-shan-shui-shan-ye-yi-ming-237546","适道山水扇页","佚名","泥金底色温润古雅，晕开淡墨山水的清逸意趣。画面以高远起势，左侧峰崖崚嶒，皴笔苍劲利落，勾勒山石的硬朗肌理；右侧浅峦迤逦铺展，水岸平阔，漾出平远之境。近景虬木错落、枝桠疏朗，掩映着茅亭村舍，田畴横陈，将郊野幽居的闲适日常铺陈开来。淡墨轻施、设色简淡，萧散的文人意趣盈满尺幅之间，题款小字清雅安和，与画面浑然相融，把林泉高致藏于盈握扇面，尽显古雅悠然的山水情怀。",[330,24,28,37,26,25,136,387,87,447,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c5841dc93a7b567b976371d8e6ad907.jpg",[],{"id":462,"slug":463,"title":464,"dynasty":58,"author":465,"museum":100,"description":466,"tags":467,"thumbUrl":472,"material":318,"size":319,"collection":90,"collections":473,"showCount":451,"zanCount":11,"manualWeight":11,"mainColor":53},237504,"shan-shui-hua-hui-ce-jiang-shou-cheng-237504","山水花卉册","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,63,64,68,25,28,67,32,30,468,469,26,216,470,471,65,217,252,40,7],"岸边","淡彩","自然景物","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151fceff1d559bd393e5906365f0c727.jpg",[],{"id":475,"slug":476,"title":404,"dynasty":58,"author":477,"museum":100,"description":478,"tags":479,"thumbUrl":480,"material":318,"size":319,"collection":90,"collections":481,"showCount":451,"zanCount":11,"manualWeight":11,"mainColor":94},236703,"shan-shui-shan-lin-fan-236703","林凡","以干笔淡墨绘就秋山幽居，近岸板桥横陈，策杖行人缓步徐行，篱舍错落隐于林间。远山层叠晕染，主峰以短皴攒簇，勾勒苍厚肌理，金笺底色晕开疏淡墨色，衬出空寂秋意。\n此作以尺幅铺展咫尺千里之境，笔墨简淡清逸，以简驭繁，将林泉高致藏于方寸扇面。萧散野趣漫溢其间，尽显文人画的幽寂襟怀，观之如临深秋日暮的山居，静赏山光林影，遥想丘壑间的隐逸闲情。",[330,24,26,37,28,65,32,87,125,109,40,7,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7600b1b6f1911a4652e5bdd3c55f1145.jpg",[],{"id":483,"slug":484,"title":485,"dynasty":18,"author":262,"museum":100,"description":486,"tags":487,"thumbUrl":488,"material":318,"size":319,"collection":90,"collections":489,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},238686,"shan-shui-ce-dong-bang-da-238686","山水册","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,63,64,26,37,28,66,236,65,108,87,32,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc12139910308b4ff24fe3275e777ba.jpg",[],{"id":491,"slug":492,"title":485,"dynasty":18,"author":262,"museum":60,"description":493,"tags":494,"thumbUrl":495,"material":90,"size":90,"collection":90,"collections":496,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},234796,"shan-shui-ce-dong-bang-da-234796","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,63,64,26,37,28,136,387,66,65,153,40,7,186,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d6dda4967c6f5cf4ee430a529366c3.jpg",[],{"id":498,"slug":499,"title":500,"dynasty":18,"author":456,"museum":100,"description":501,"tags":502,"thumbUrl":510,"material":90,"size":511,"collection":90,"collections":512,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":53},233108,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233108","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[291,503,109,504,28,32,65,505,506,507,31,30,508,509,186,123,7],"木刻","马","战争","战场","弓箭","动态","战骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9d4649f4a1254642ca9e039373ed85.jpg","87.3×50cm",[],{"id":514,"slug":515,"title":516,"dynasty":302,"author":517,"museum":100,"description":518,"tags":519,"thumbUrl":532,"material":318,"size":319,"collection":90,"collections":533,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":94},232119,"de-jia-61-de-jia-232119","德加61","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[307,306,447,520,521,312,313,217,522,523,123,7,524,525,526,527,528,529,530,531],"小路","山丘","土路","山坡","自然景观","田园风光","色彩柔和","光影表现","蜿蜒小径","起伏地形","植被覆盖","黄昏色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0949e5b0f6254a4e39f02ae0cb9241fd.jpg",[],{"id":535,"slug":536,"title":485,"dynasty":18,"author":537,"museum":81,"description":538,"tags":539,"thumbUrl":543,"material":25,"size":544,"collection":90,"collections":545,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},238264,"shan-shui-ce-zhang-yan-238264","张演","此作用浅绛设色晕染出幽寂山居。近隅茅舍错落，屋中二人对坐晤谈，周遭嘉木扶苏，枝叶皴染细致，翠色鲜活生机暗涌。中景崖壁逶迤，山道萦回，林木错落嵌于岩隙间。远景危崖以淡墨浅赭晕出肌理，留白处尽显空濛悠远。\n\n构图疏密得宜，笔墨秀润清逸，将林下幽居的雅趣融于尺幅之中，静穆萧散的文人意韵浸透纸面，引观者踏入尘嚣之外的林泉佳处，尽显澹泊出尘的襟怀。",[24,25,64,28,37,65,30,32,87,109,104,42,186,540,217,541,542,7,219,267],"坡地","居所","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223801e336f2d1e91f94eb0c474355a2.jpg","37.1x31.7",[],{"id":547,"slug":548,"title":485,"dynasty":18,"author":549,"museum":100,"description":550,"tags":551,"thumbUrl":552,"material":90,"size":90,"collection":90,"collections":553,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},235380,"shan-shui-ce-mei-geng-235380","梅庚","此作用枯淡之笔绘就江崖秋景，近处崖石以简练皴擦勾勒，嶙峋质感跃然纸上。留白铺展江面，淡墨晕染远山，汀渚村郭轻描淡写，寥寥数笔便将江天寥廓铺陈开来，尽显空寂淡远之致。题画行书与山水相映，诗画合璧，文气浸透纸面，尽显简淡空灵的特质。全幅以少胜多，于疏淡间写尽江崖闲寂，观之如临江风，似见落日沉江，文人山水的雅逸风神尽显无余。",[24,63,64,26,37,28,65,32,251,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f554b7df14e4e61ee73771d006b6045.jpg",[],1777535712261]