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28.4x474公分",[42,99],54,{"id":195,"slug":196,"title":197,"dynasty":154,"author":198,"museum":125,"description":199,"tags":200,"thumbUrl":206,"material":41,"size":41,"collection":41,"collections":207,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":68},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","佚名","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[23,201,26,202,31,203,79,95,38,204,36,37,7,205],"界画","工笔","楼阁","潮水","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":209,"slug":210,"title":211,"dynasty":154,"author":212,"museum":125,"description":213,"tags":214,"thumbUrl":217,"material":41,"size":41,"collection":41,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":46},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","邹一桂","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[56,23,24,58,26,202,27,31,59,38,215,37,7,216,30,29],"红叶","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],41,{"id":221,"slug":222,"title":223,"dynasty":154,"author":224,"museum":171,"description":225,"tags":226,"thumbUrl":231,"material":232,"size":233,"collection":41,"collections":234,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":46},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","王时敏","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[23,24,58,57,26,31,27,227,228,38,59,160,229,37,230,7],"秋山","白云","茅屋","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纸本，设色","纵96.7厘米，横41厘米",[],38,{"id":237,"slug":238,"title":239,"dynasty":183,"author":240,"museum":91,"description":241,"tags":242,"thumbUrl":244,"material":145,"size":245,"collection":41,"collections":246,"showCount":247,"zanCount":67,"manualWeight":11,"mainColor":46},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","管道升","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[23,57,31,243,160,79,229,37,7,38,27],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 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(1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[23,24,57,58,31,80,37,7,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220744a1d28d0000d5efd43b1543c4f4.jpg","未知","Xcm*Xcm",[],28,{"id":261,"slug":262,"title":263,"dynasty":154,"author":264,"museum":265,"description":266,"tags":267,"thumbUrl":270,"material":40,"size":41,"collection":41,"collections":271,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":46},214596,"fang-gu-shan-shui-ce-8-wang-hui-214596","仿古山水册-8","王翚","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。",[23,24,25,26,31,38,268,37,269,7],"芦苇","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcc549ed03786bc248594ee37ecbe4da.jpg",[],26,{"id":274,"slug":275,"title":276,"dynasty":183,"author":277,"museum":91,"description":278,"tags":279,"thumbUrl":280,"material":281,"size":282,"collection":41,"collections":283,"showCount":284,"zanCount":67,"manualWeight":11,"mainColor":46},231412,"yan-ling-diao-tai-tu-sa-dou-ci-231412","严陵钓台图","萨都刺","诗塘款题云：\n山川牵惹心我旌。迢递驱驰万里程。蹻步薜分声柝柝。瀑流涧汇响砰砰。钓竿台上无形迹。丘壑亭中有隐名。富贵可遗志不易。鼎彝犹似羽毛轻。予自都门历南。跋涉驱驰。奔走几半万里。闻严台钓矶。山秀寰拱。碧水澄渊。余强冷启敬共登。既而游归。启敬强余绘图。漫为作此。至元己卯（1339年）八月燕山天锡薩都剌写。并题於武林。",[56,23,57,28,29,27,30,24,31,79,80,141,60,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375ad6aa0e419933d8c53ef10dae7dd4.jpg","纸本,水墨","58.7 x 31.9cm",[],25,{"id":286,"slug":287,"title":288,"dynasty":18,"author":289,"museum":20,"description":290,"tags":291,"thumbUrl":295,"material":40,"size":296,"collection":41,"collections":297,"showCount":284,"zanCount":67,"manualWeight":11,"mainColor":46},214671,"san-jue-tu-4-yao-shou-214671","三绝图-4","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[23,57,31,27,79,292,96,80,268,37,7,293,294,30],"蓑笠","湖水","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41a69055627a18111545189016a9a46.jpg","纵31.2 厘米 横48.3 厘米",[],{"id":299,"slug":300,"title":301,"dynasty":18,"author":19,"museum":125,"description":302,"tags":303,"thumbUrl":307,"material":256,"size":257,"collection":41,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},237849,"fang-ni-shan-shui-shan-dong-qi-chang-237849","仿倪山水扇","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,24,304,57,27,305,30,31,37,7,96,60,306,81],"扇面","临摹","平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55363912779a99f9f5b63f43afe6bd85.jpg",[],16,{"id":311,"slug":312,"title":313,"dynasty":154,"author":314,"museum":125,"description":315,"tags":316,"thumbUrl":320,"material":41,"size":41,"collection":41,"collections":321,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},235522,"yuan-ji-shan-shui-tu-ce-shi-tao-235522","原济山水图册","石涛","此作用枯笔淡墨绘就山水幽居之境。远山清瘦层叠，烟岚轻笼峰腰，晕染出空濛淡远之致。近处怪石盘迂，苍松杂木错落生姿，茅舍半隐林麓，林下幽人对坐抚琴，尽得林泉高致。\n\n左侧题诗与画面相映成趣，笔致萧散简淡，以诗衬画，将静听松风、默然会意的雅逸心境铺展纸上。整体画风疏秀空灵，脱尽尘俗，以极简笔墨勾勒悠远林下之思，把文人耽爱山水、寄情丝桐的襟怀融于尺幅间，淡而弥永，意韵悠长。",[23,57,25,27,31,317,38,229,37,7,160,318,319],"孤石","松枝","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9ee25418441b56893f0e81e4198921.jpg",[],{"id":323,"slug":324,"title":325,"dynasty":18,"author":326,"museum":125,"description":327,"tags":328,"thumbUrl":331,"material":256,"size":257,"collection":41,"collections":332,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":46},234707,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234707","仿黄公望山水扇页","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，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，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。",[23,24,304,31,57,27,79,59,38,37,7,329,330],"小船","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c6b2ad4920afc675476c281ad0a6d.jpg",[],15,{"id":335,"slug":336,"title":337,"dynasty":154,"author":338,"museum":125,"description":339,"tags":340,"thumbUrl":343,"material":41,"size":41,"collection":42,"collections":344,"showCount":345,"zanCount":11,"manualWeight":11,"mainColor":46},238009,"shan-shui-ce-lu-zun-shu-238009","山水册","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[23,57,27,25,31,203,59,38,61,37,7,159,36,341,342],"河岸","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F591c692a53110aba3d0f7ed31649a34e.jpg",[42,99],14,{"id":347,"slug":348,"title":349,"dynasty":154,"author":170,"museum":125,"description":350,"tags":351,"thumbUrl":353,"material":41,"size":41,"collection":41,"collections":354,"showCount":345,"zanCount":11,"manualWeight":11,"mainColor":46},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[23,24,58,57,27,31,34,352,59,189,37,7,96],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":356,"slug":357,"title":301,"dynasty":18,"author":358,"museum":125,"description":359,"tags":360,"thumbUrl":361,"material":256,"size":257,"collection":41,"collections":362,"showCount":363,"zanCount":11,"manualWeight":11,"mainColor":46},239473,"fang-ni-shan-shui-shan-bian-wen-yu-239473","卞文瑜","字孟硕，吴江（今江苏吴江）人。工画，见赏于董思白（其昌）、陈眉公（继儒）。明亡佯狂卒，年三十二。",[23,304,57,27,305,31,317,38,229,37,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d62cdec0cf21a047c087ed05e3035b6.jpg",[],13,{"id":365,"slug":366,"title":337,"dynasty":154,"author":367,"museum":125,"description":368,"tags":369,"thumbUrl":370,"material":256,"size":257,"collection":42,"collections":371,"showCount":363,"zanCount":11,"manualWeight":11,"mainColor":46},235493,"shan-shui-ce-liu-yu-235493","柳堉","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[23,24,25,57,28,27,31,59,38,37,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[42],{"id":373,"slug":374,"title":375,"dynasty":18,"author":19,"museum":376,"description":377,"tags":378,"thumbUrl":379,"material":114,"size":380,"collection":41,"collections":381,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":68},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","安徽省博物馆","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[56,23,24,58,57,27,31,59,38,78,80,37,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],12,{"id":384,"slug":385,"title":386,"dynasty":183,"author":387,"museum":125,"description":388,"tags":389,"thumbUrl":392,"material":41,"size":41,"collection":41,"collections":393,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":68},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","陈汝言","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[56,23,24,58,57,27,31,59,390,38,160,37,7,391,30],"瀑布","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":395,"slug":396,"title":325,"dynasty":18,"author":326,"museum":125,"description":397,"tags":398,"thumbUrl":399,"material":41,"size":41,"collection":41,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":46},234630,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234630","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。",[23,24,304,31,57,27,305,32,34,60,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581d8b3fe9cac690ab9750926dfbb899.jpg",[],10,{"id":403,"slug":404,"title":405,"dynasty":154,"author":406,"museum":125,"description":407,"tags":408,"thumbUrl":409,"material":41,"size":41,"collection":41,"collections":410,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":46},234483,"shan-shui-ce-ye-wu-ji-shan-234483","山水册页","吴继善","吴继善，字志衍,明朝官员。南直隶太仓人，中崇祯十年（1637年）进士，崇祯十六年（1643年）任成都知县。",[23,24,25,57,27,31,34,60,37,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1a40848c5916e5cd036669177fab251.jpg",[],{"id":412,"slug":413,"title":414,"dynasty":415,"author":416,"museum":125,"description":417,"tags":418,"thumbUrl":422,"material":256,"size":257,"collection":41,"collections":423,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":68},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏","不详","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[56,23,24,419,57,27,31,79,292,420,80,390,37,7,421],"屏风","亭","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":425,"slug":426,"title":427,"dynasty":154,"author":198,"museum":125,"description":428,"tags":429,"thumbUrl":435,"material":41,"size":41,"collection":41,"collections":436,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":46},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[56,23,24,25,57,26,27,31,430,160,79,38,431,37,7,60,61,110,432,130,433,434],"山岩","亭阁","近树","浅滩","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":438,"slug":439,"title":440,"dynasty":154,"author":441,"museum":125,"description":442,"tags":443,"thumbUrl":446,"material":41,"size":41,"collection":41,"collections":447,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":46},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","山水图轴","方士庶","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[23,24,58,57,26,31,32,33,38,60,110,444,130,7,80,445,27],"路径","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],9,{"id":450,"slug":451,"title":452,"dynasty":154,"author":453,"museum":265,"description":454,"tags":455,"thumbUrl":456,"material":281,"size":41,"collection":41,"collections":457,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":46},214493,"shui-mo-tu-ce-10-zheng-min-214493","水墨图册-10","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[56,23,24,57,25,28,27,31,420,34,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e451a5ca2a21daecedb3a464b69e68.jpg",[],{"id":459,"slug":460,"title":337,"dynasty":18,"author":461,"museum":125,"description":462,"tags":463,"thumbUrl":464,"material":41,"size":41,"collection":41,"collections":465,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":46},236929,"shan-shui-ce-qin-mao-de-236929","秦懋德","此作以淡墨写就平远之境，近坡古松虬曲错落，茅庐幽栖于林木间，野意自生。山峦以干笔轻皴，施淡墨晕染肌理，衬出山石朴拙质感。远景以留白衬出烟波浩渺，远山只作淡墨虚写，留白尽得水意空濛。\n\n书画合璧相映成趣，笔墨简淡秀润，摒弃繁复刻画，以极简意趣勾勒林泉幽致，将文人幽栖林下、寄情山水的襟怀融于尺幅之间，尽显静穆淡远的出世雅韵，藏着画者寄情林泉的隐逸心绪。",[23,24,25,57,27,28,31,32,34,60,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6798e239385714ccb8825c45b27d4d05.jpg",[],8,{"id":468,"slug":469,"title":470,"dynasty":154,"author":471,"museum":125,"description":472,"tags":473,"thumbUrl":474,"material":256,"size":257,"collection":41,"collections":475,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":46},236376,"shan-shui-shan-ye-wang-ze-236376","山水扇页","王泽","王泽（？－？），浙江临安人，明朝政治人物。进士出身。\n王泽曾于万历年间接替赖嘉谟任邵武府知府一职，万历年间由岳钟英接任。",[23,24,304,57,31,27,32,34,33,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef36f243b6f7752b786cafb501caa1ec.jpg",[],{"id":477,"slug":478,"title":479,"dynasty":154,"author":198,"museum":125,"description":480,"tags":481,"thumbUrl":482,"material":41,"size":41,"collection":41,"collections":483,"showCount":484,"zanCount":67,"manualWeight":11,"mainColor":68},235709,"zou-zhe-shan-shui-tu-zhou-yi-ming-235709","邹喆山水图轴","此作取高远开合之景，左上危崖巉岩，笔墨挺劲勾勒出山峦硬朗骨相，古松虬曲扎根崖壁，枝叶舒展有凌云之姿。中景山居藏于林麓间，窗内人影对坐，为清冷山林晕开一缕烟火暖意。烟岚留白柔化层叠丘壑，将近溪、村居、远山林亭晕连成浑然整体，虚实相生。近滩乱石错落，清溪缓流，扁舟系于浅濑，野趣悠然。\n\n皴法融披麻与斧劈意趣，山石简练，林木点染疏密合宜，淡墨晕出山雾空濛，兼收北派雄健与南宗温润，将林泉幽居的隐逸清趣，藏于烟霞丘壑之中。",[23,58,26,27,31,59,38,60,61,203,96,80,37,7,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca0839c65b0165554e6b938fbdc82b.jpg",[],7,{"id":486,"slug":487,"title":488,"dynasty":154,"author":170,"museum":125,"description":489,"tags":490,"thumbUrl":491,"material":41,"size":41,"collection":41,"collections":492,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":46},236573,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236573","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 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