[{"data":1,"prerenderedAt":250},["ShallowReactive",2],{"subject-jin-shan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1450,"jin-shan","近山","近山画高清赏析","精选中国历代近山题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b50f982bbdf3d8ba67cddd5dc4b4c6.jpg",0,15,[14,48,74,93,111,130,145,160,172,185,194,203,219,229,239],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","明","仇英","台北故宫博物院","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,7,39,40],"高清","国画","名画","书画","长卷","青绿","设色","工笔","山水","人物","楼阁","松树","飞鸟","山石","树木","远山","庭院","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg","白纸本","44.8x1208","",[],180,"795548",{"id":49,"slug":50,"title":51,"dynasty":18,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":66,"material":67,"size":68,"collection":69,"collections":70,"showCount":71,"zanCount":72,"manualWeight":11,"mainColor":73},219124,"jin-jiang-tu-juan-sun-zhi-219124","锦江图卷","孙枝","天津博物馆","孙枝，明，字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人，生卒年不详。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳",[23,24,27,28,29,31,56,57,58,59,60,37,61,62,63,64,65,7],"皴法","山峦","河流","岛屿","船只","亭台","植被","水面","舟楫","远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c919032926458bb7688a31b9f9ffdb.jpg","绢本,设色","37X595cm","山水画精选",[69],128,6,"BDBDBD",{"id":75,"slug":76,"title":77,"dynasty":78,"author":79,"museum":20,"description":80,"tags":81,"thumbUrl":87,"material":88,"size":89,"collection":69,"collections":90,"showCount":91,"zanCount":92,"manualWeight":11,"mainColor":73},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","元","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[23,24,27,82,56,31,38,7,37,58,83,84,85,86],"水墨","湖泊","沙洲","村庄","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","纸本,设色","31x117.4cm",[69],81,2,{"id":94,"slug":95,"title":96,"dynasty":97,"author":98,"museum":99,"description":100,"tags":101,"thumbUrl":107,"material":67,"size":44,"collection":69,"collections":108,"showCount":109,"zanCount":110,"manualWeight":11,"mainColor":47},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","宋","马远","美国弗利尔美术馆","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,26,27,82,29,56,31,102,103,37,33,104,105,35,38,7,106],"山","水","亭","孤舟","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[69],79,1,{"id":112,"slug":113,"title":114,"dynasty":18,"author":115,"museum":116,"description":117,"tags":118,"thumbUrl":124,"material":125,"size":126,"collection":69,"collections":127,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":73},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954","潇湘白云图","董其昌","辽宁省博物馆","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,26,27,82,56,119,120,86,31,121,37,122,38,7,123],"行书","书法","云","房屋","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","纸本水墨","卷纵29.3厘米横340.8厘米",[69,128],"水墨画精选",57,{"id":131,"slug":132,"title":133,"dynasty":134,"author":135,"museum":136,"description":137,"tags":138,"thumbUrl":140,"material":88,"size":141,"collection":69,"collections":142,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":73},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","清","吴历","北京故宫博物院","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,25,24,26,27,82,56,31,37,139,58,105,38,7,62,123],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[69,143],"设色画精选",46,{"id":146,"slug":147,"title":148,"dynasty":134,"author":149,"museum":150,"description":151,"tags":152,"thumbUrl":156,"material":88,"size":157,"collection":69,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":73},219953,"xiao-jiang-feng-bian-tu-hong-ren-219953","晓江风便图","弘仁","安徽省博物馆","图绘自新安至扬州，由浦口练江入新安江壹线实景。前段写练江沿岸将军山诸山嵌岩峭峙，林木萧瑟之景。后段写新安江对岸晓雾迷蒙烟峦重叠，轻舟挂帆乘风的情景。笔墨线条遒缓，意境荒僻，不染尘垢。\n图尾自题“辛丑十壹月，伯炎居士将广陵之装，学人写晓江风便图以送，揆有数月之间，蹊桃初绽，瞻望旋旌。弘仁”。钤“弘仁”、“渐江”印。\n图后附吴羲行书、程守行书、许楚草书、石涛楷书跋各壹段。辛丑为清顺治十八年，公元1661年，作者时年52岁。款署“辛丑十一月”，另纸有渐江的好友吴羲、程宁、许楚跋语。吴、许二跋署年癸卯(康熙二年，公元1663年)，皆在渐江卒前数月。还有石涛丙子年(1696年)题跋，皆为研究渐江生平及其艺术的重要资料。",[23,24,27,82,31,56,105,104,153,154,40,155,38,7],"枯树","树","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6a2a3eed5925dfa7655939a663e8c.jpg","纵28.5横43厘米",[69],45,{"id":161,"slug":162,"title":163,"dynasty":134,"author":164,"museum":165,"description":166,"tags":167,"thumbUrl":169,"material":44,"size":44,"collection":69,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":73},237973,"shan-shui-ce-zhang-geng-237973","山水册","张庚","藏地不详","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,82,56,168,31,38,7,37,122,63],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acb599bd7ac62d645f8a8d69aa34971.jpg",[69],17,{"id":173,"slug":174,"title":163,"dynasty":18,"author":175,"museum":136,"description":176,"tags":177,"thumbUrl":180,"material":181,"size":182,"collection":44,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":73},236328,"shan-shui-ce-song-xu-236328","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,82,56,168,31,40,178,179,32,106,38,7,37],"孤石","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e79ad6a3590e82867bbf6b58c0e8bd1.jpg","纸本 ，设色","纵31cm，横42cm",[],16,{"id":186,"slug":187,"title":188,"dynasty":134,"author":189,"museum":165,"description":190,"tags":191,"thumbUrl":192,"material":44,"size":44,"collection":44,"collections":193,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":73},237768,"yuan-ji-shan-shui-tu-ce-shi-tao-237768","原济山水图册","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。",[25,24,26,168,82,29,56,31,178,122,37,38,7,63,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdf237b23a0eee60675e6fe8c367619.jpg",[],{"id":195,"slug":196,"title":163,"dynasty":134,"author":197,"museum":165,"description":198,"tags":199,"thumbUrl":200,"material":44,"size":44,"collection":69,"collections":201,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":73},239040,"shan-shui-ce-wu-lin-239040","吴麐","此作用笔松灵秀润，以浅绛之法铺陈丘壑。远景主峰以淡墨晕出山形，氤氲起朦胧岚气，山顶浓墨点苔缀林，虚实相生间尽显山之厚重幽邃。近岸巉岩错落，古松虬枝蟠曲，杂木丛生，枝叶或点或染，尽显苍劲生机。右侧村居隐于林麓，寥寥数笔便勾勒出幽居野逸之态。全画干湿互济，皴擦简淡却见层次，设色清和淡雅，将江南山水的沉静灵秀尽数铺展，漫溢着萧散悠然的林下逸趣，尽显文人山水画的雅致意韵。",[24,82,29,56,168,31,36,37,122,35,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e13ea05de5b02d4d87718aed3bf70e5.jpg",[69,143],11,{"id":204,"slug":205,"title":206,"dynasty":207,"author":208,"museum":165,"description":209,"tags":210,"thumbUrl":214,"material":215,"size":216,"collection":44,"collections":217,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":47},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）","不详","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,26,25,211,56,82,29,31,102,154,106,212,38,7,213,37],"立轴","建筑","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg","未知","Xcm*Xcm",[],9,{"id":220,"slug":221,"title":222,"dynasty":18,"author":223,"museum":165,"description":224,"tags":225,"thumbUrl":226,"material":44,"size":44,"collection":44,"collections":227,"showCount":228,"zanCount":11,"manualWeight":11,"mainColor":73},235837,"shan-quan-dong-tu-ye-lu-shi-dao-235837","善权洞图页","陆师道","以淡赭轻铺山峦，层叠丘壑间晕染柔雅，细笔点苔缀林，古松苍劲欹斜，山坳楼宇隐现于烟岚之中，幽寂空灵尽显洞天清旷。\n\n书画合璧，笔致清隽秀雅，以写意笔法铺展林泉胜景，不重精雕细刻，却将幽隐丘壑的澹然意趣娓娓铺陈。笔墨间浸润文人情思，简淡萧疏的格调里，尽显林泉高致，将山水灵秀与古雅意蕴融于尺幅，尽显师法自然又饱含文心的画中真意。",[24,26,168,29,56,119,86,120,31,102,103,37,34,104,38,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93a23db8a02747d1835698287b7243e.jpg",[],5,{"id":230,"slug":231,"title":232,"dynasty":134,"author":233,"museum":165,"description":234,"tags":235,"thumbUrl":237,"material":44,"size":44,"collection":44,"collections":238,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":73},238974,"shan-shui-ce-fang-huang-rong-lao-ren-bi-yi-wang-chen-238974","山水册－仿黄荣老人笔意","王宸","此作用笔松秀苍润，以干淡笔墨写就水村山景。近岸怪石崚嶒，古松虬曲横斜，枝叶简括见风骨，临水村居错落，木构茅舍自带野逸之趣。远景平峦迤逦，淡墨晕染出空濛烟岚，水天一色间尽显清寂淡和。\n整幅画以仿古笔法写胸中丘壑，萧散简远，将江南水乡的闲静之致藏于笔墨间，淡岚轻霭里漫溢出幽居林下的雅逸意趣，不见繁复刻画，却在简淡之中尽显沉静安然的文人画意境。",[24,26,168,82,56,236,31,34,36,122,38,7,37],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e913300ffb58dfa0c5f22d17733740c.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":134,"author":243,"museum":165,"description":244,"tags":245,"thumbUrl":247,"material":248,"size":44,"collection":44,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},215606,"tian-xia-ming-shan-tu-17-yi-ming-215606","天下名山图-17","佚名","笔墨轻挥间，山水之韵徐徐铺展。前景溪流蜿蜒，岸线层叠，水纹细劲如丝，似有潺潺声入耳。中景坡地起伏，林木疏密有致，几椽屋舍隐于其间，添了烟火气却不失清幽。背景山峦巍峨，轮廓刚劲含柔，山间留白若云雾缭绕，将远岫的深邃悄然晕开。线条简练却见功底，皴擦点染皆合章法，简淡中藏深远，平实处生奇趣。整幅画如无声的山水诗，把自然静谧与人文闲适融于尺幅，引人入胜，心生向往。",[25,24,26,168,246,82,56,31,37,38,7,106,40],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7b0bab5cf9e908df16329dcb37bf07.jpg","纸本,水墨",[],1777535724946]