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绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[56,23,25,27,26,105,35,29,63,30,88,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纸本,设色","纵155.2cm，横73cm",[41],154,"F48FB1",{"id":144,"slug":145,"title":146,"dynasty":51,"author":134,"museum":53,"description":147,"tags":148,"thumbUrl":150,"material":151,"size":152,"collection":41,"collections":153,"showCount":154,"zanCount":97,"manualWeight":11,"mainColor":74},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[56,23,58,24,25,27,26,37,38,29,35,28,7,149],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纸本，墨笔","纵25.2厘米，横105.8厘米",[41,95],121,{"id":156,"slug":157,"title":158,"dynasty":18,"author":159,"museum":53,"description":160,"tags":161,"thumbUrl":167,"material":151,"size":168,"collection":43,"collections":169,"showCount":170,"zanCount":97,"manualWeight":11,"mainColor":74},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","米友仁","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[56,23,58,24,25,59,26,162,163,38,164,165,35,28,7,166],"米点皴","行书","云","山","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[43,41,95],87,{"id":172,"slug":173,"title":174,"dynasty":18,"author":175,"museum":102,"description":176,"tags":177,"thumbUrl":184,"material":60,"size":127,"collection":43,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":74},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","盛懋","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[56,23,58,178,60,27,179,180,181,35,86,182,28,7,183],"册","孤舟","蓑笠","飞鸟","渔乐","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg",[43],86,{"id":188,"slug":189,"title":190,"dynasty":191,"author":175,"museum":192,"description":193,"tags":194,"thumbUrl":201,"material":202,"size":203,"collection":41,"collections":204,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":46},217866,"chun-shan-you-qi-tu-sheng-mao-217866","春山游骑图","元","私人收藏","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[23,27,60,26,195,196,36,197,88,35,63,198,28,7,90,199,200,65],"人物","马","楼阁","路径","游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","绢本,设色","155.5×88cm",[41],{"id":206,"slug":207,"title":208,"dynasty":119,"author":209,"museum":210,"description":211,"tags":212,"thumbUrl":213,"material":126,"size":214,"collection":41,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":74},214718,"shan-shui-ce-gao-xiang-214718","山水册","高翔","上海博物馆","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。",[57,23,58,178,25,26,27,35,63,29,28,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 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厘米",[41],70,{"id":218,"slug":219,"title":220,"dynasty":191,"author":221,"museum":102,"description":222,"tags":223,"thumbUrl":226,"material":227,"size":127,"collection":41,"collections":228,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":230},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","佚名","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[56,23,59,106,26,60,224,63,108,86,107,28,7,62,65,225],"雪景","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg","设色,绢本",[41],68,"37474F",{"id":232,"slug":233,"title":234,"dynasty":119,"author":235,"museum":20,"description":236,"tags":237,"thumbUrl":240,"material":127,"size":127,"collection":41,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":74},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[23,58,24,25,106,26,27,36,86,179,88,238,63,195,62,239,107,183,28,7],"老树","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[41],58,{"id":244,"slug":245,"title":246,"dynasty":51,"author":247,"museum":53,"description":248,"tags":249,"thumbUrl":251,"material":252,"size":253,"collection":127,"collections":254,"showCount":255,"zanCount":97,"manualWeight":11,"mainColor":74},234121,"fang-mi-shan-shui-tu-juan-chen-chun-234121","仿米山水图卷","陈淳","图中山峦隐现起伏不断，雾气弥漫，杂树成林，山涧泉 水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[23,58,24,25,27,106,162,29,35,63,87,88,86,28,7,250],"苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纸本水墨","纵14．8厘米横247．2厘米",[],56,{"id":257,"slug":258,"title":259,"dynasty":18,"author":221,"museum":102,"description":260,"tags":261,"thumbUrl":263,"material":126,"size":264,"collection":43,"collections":265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":46},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[56,57,23,58,25,26,27,165,262,35,85,28,7],"峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[43],54,{"id":268,"slug":269,"title":270,"dynasty":51,"author":52,"museum":102,"description":271,"tags":272,"thumbUrl":273,"material":126,"size":274,"collection":41,"collections":275,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":74},220938,"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[56,23,57,58,105,25,26,27,35,63,65,28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[41,95],49,{"id":278,"slug":279,"title":280,"dynasty":18,"author":281,"museum":102,"description":282,"tags":283,"thumbUrl":288,"material":202,"size":289,"collection":41,"collections":290,"showCount":291,"zanCount":11,"manualWeight":11,"mainColor":74},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。",[23,58,25,60,26,27,284,285,179,63,35,29,286,28,7,287],"烟雨","江帆","江水","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[41],47,{"id":293,"slug":294,"title":295,"dynasty":51,"author":52,"museum":53,"description":296,"tags":297,"thumbUrl":298,"material":299,"size":300,"collection":41,"collections":301,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":46},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[56,23,58,105,25,60,26,163,38,27,63,35,107,28,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","绢本，设色","纵78.5厘米，横30.2厘米",[41,95],45,{"id":304,"slug":305,"title":306,"dynasty":119,"author":307,"museum":53,"description":308,"tags":309,"thumbUrl":311,"material":151,"size":312,"collection":127,"collections":313,"showCount":314,"zanCount":11,"manualWeight":11,"mainColor":74},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","仙山楼阁图轴","王时敏","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[23,58,105,27,197,35,310,65,107,25,26,63,28,7,198],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],43,{"id":316,"slug":317,"title":318,"dynasty":18,"author":319,"museum":20,"description":320,"tags":321,"thumbUrl":323,"material":127,"size":127,"collection":127,"collections":324,"showCount":325,"zanCount":11,"manualWeight":11,"mainColor":46},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[56,23,58,24,25,26,27,310,35,322,30,179,181,108,28,7,124],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],39,{"id":327,"slug":328,"title":329,"dynasty":119,"author":330,"museum":331,"description":332,"tags":333,"thumbUrl":336,"material":337,"size":338,"collection":41,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":74},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","美国克利夫兰艺术博物馆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[56,23,24,25,26,59,334,35,63,30,107,335,195,29,28,7,66],"秋雾","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","纸本 设色","29.5x280cm",[41,95],38,{"id":342,"slug":343,"title":158,"dynasty":18,"author":159,"museum":53,"description":344,"tags":345,"thumbUrl":353,"material":151,"size":168,"collection":127,"collections":354,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":74},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,58,24,25,27,164,35,38,37,26,346,347,28,7,29,34,348,349,61,350,351,352],"写意","点染","题字","墨笔","水墨山水","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],36,{"id":357,"slug":358,"title":359,"dynasty":18,"author":360,"museum":20,"description":361,"tags":362,"thumbUrl":363,"material":127,"size":127,"collection":127,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":74},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","荆浩","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[56,23,58,25,60,26,27,28,7,107,123,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],35,{"id":367,"slug":368,"title":369,"dynasty":51,"author":221,"museum":370,"description":371,"tags":372,"thumbUrl":374,"material":138,"size":127,"collection":127,"collections":375,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":74},217949,"ming-ren-shan-shui-hua-ce-liu-yi-ming-217949","明人山水画册(六)","大英博物馆","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[56,23,25,26,178,27,373,63,86,28,7,123],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020fb7e4bf77496f47c6fab3f8b8ac7.jpg",[],33,{"id":378,"slug":379,"title":380,"dynasty":51,"author":381,"museum":53,"description":382,"tags":383,"thumbUrl":386,"material":387,"size":388,"collection":41,"collections":389,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":46},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[23,58,105,25,26,61,27,35,88,384,63,108,28,7,385,62,65],"水波","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","纸本","长88cm 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cm",[41],32,{"id":392,"slug":393,"title":394,"dynasty":191,"author":395,"museum":102,"description":396,"tags":397,"thumbUrl":404,"material":405,"size":406,"collection":41,"collections":407,"showCount":408,"zanCount":97,"manualWeight":11,"mainColor":46},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","高克恭","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[56,57,23,58,105,25,26,27,398,399,35,36,86,28,7,29,63,400,65,401,402,403],"青山","白云","平坡","草木","丘壑","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[41,95],31,{"id":410,"slug":411,"title":412,"dynasty":191,"author":413,"museum":53,"description":414,"tags":415,"thumbUrl":416,"material":417,"size":418,"collection":127,"collections":419,"showCount":420,"zanCount":97,"manualWeight":11,"mainColor":46},233844,"hua-shan-shui-zhou-li-shi-xing-233844","画山水轴","李士行","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[23,58,105,25,60,27,35,63,86,28,26,65,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","绢本，墨笔","纵：106.2厘米，横：52.7厘米",[],30,{"id":422,"slug":423,"title":424,"dynasty":119,"author":425,"museum":53,"description":426,"tags":427,"thumbUrl":429,"material":387,"size":127,"collection":41,"collections":430,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":46},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴","王翚","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 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。",[23,58,105,25,26,27,322,108,181,63,428,28,7,335],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[41,95],29,{"id":433,"slug":434,"title":435,"dynasty":51,"author":52,"museum":102,"description":436,"tags":437,"thumbUrl":439,"material":440,"size":441,"collection":41,"collections":442,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":46},220371,"fang-mi-xiao-xiang-bai-yun-tu-dong-qi-chang-220371","仿米潇湘白云图","本图仿米芾笔意，以墨韵幽雅，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气，描绘多变莫测的云烟雨，使得绮丽多姿的山水更富有直观表现的色彩。",[56,23,25,59,105,26,162,165,438,35,29,28,7,400,181],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15e39c6775698df13687f8.jpg","绢本,水墨","123.2x51.9",[41],{"id":444,"slug":445,"title":27,"dynasty":446,"author":447,"museum":448,"description":449,"tags":450,"thumbUrl":451,"material":127,"size":127,"collection":127,"collections":452,"showCount":453,"zanCount":11,"manualWeight":11,"mainColor":74},220513,"shan-shui-pu-xin-she-220513","民国","溥心畬","龙美术馆西岸馆","此作以高远、平远之法铺展秋山江居之景。远景峰峦含烟，青嶂间朱檐古阁半隐雾霭，恍若仙乡。中景汀渚蜿蜒，苍松挺秀，丹枫点染秋光，村居藏于林麓，野趣悠然。近境临水高轩敞亮，二人凭栏对晤，秋水潺湲，石矶错落，霜叶漫山晕开暖红。\n笔墨兼融北宗苍劲与南宗秀润，浅赭花青晕染出明净秋意，题诗与画境相融，尽显清寂萧散的隐逸诗意，晕染出文人幽淡出尘的襟怀。",[23,58,60,26,27,197,35,28,7,107,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],28,{"id":455,"slug":456,"title":457,"dynasty":18,"author":458,"museum":20,"description":459,"tags":460,"thumbUrl":466,"material":127,"size":127,"collection":127,"collections":467,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":46},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","李安忠","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[56,57,23,58,105,25,27,26,179,108,28,63,124,35,461,462,225,463,7,464,350,465],"渔舟","岸边","水域","山石皴染","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],26,{"id":470,"slug":471,"title":472,"dynasty":119,"author":425,"museum":53,"description":426,"tags":473,"thumbUrl":474,"material":475,"size":476,"collection":41,"collections":477,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":142},236363,"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴",[23,58,105,25,26,27,35,63,30,28,7,198,34,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纸本 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Newfields","以淡墨晕染烟江叠嶂，远山轻描淡扫，留白托出平湖空寂，幽远淡宕。近岸佳木扶苏，笔致清劲灵秀，苍枝翠叶错落生姿，坡石间高士垂眉静坐，与烟水林泉相融无间。\n题跋笔墨隽雅，诗画相映，将幽居闲赏的林下襟怀藏于尺幅间。极简的水墨层次铺展空疏淡远之境，把天地间的清寂逸趣凝缩在这一纸烟岚里，尽显东方文人画的静穆禅意。",[56,23,58,105,25,26,163,38,27,35,179,195,63,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7f7ce3d1ef48dddd8b0d0f9283b6ce.jpg",[],{"id":503,"slug":504,"title":505,"dynasty":119,"author":506,"museum":507,"description":508,"tags":509,"thumbUrl":510,"material":126,"size":511,"collection":41,"collections":512,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":74},218106,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218106","新安逸韵册(黄吕山水)","黄吕","香港中文大学文物馆","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[56,23,58,178,25,26,27,373,165,195,88,28,7,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ae8e14ea491b022cb2182598655da5.jpg","30.6x20.7cm",[41],{"id":514,"slug":515,"title":516,"dynasty":119,"author":517,"museum":518,"description":519,"tags":520,"thumbUrl":522,"material":138,"size":523,"collection":127,"collections":524,"showCount":525,"zanCount":11,"manualWeight":11,"mainColor":74},214485,"he-yi-shan-shui-tu-ce-2-he-yi-214485","赫奕山水图册-2","赫奕","旅顺博物馆","清代画家赫奕的山水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，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，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，赫奕的山水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，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[56,23,178,25,60,26,27,35,107,86,179,63,28,36,7,521],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4892d0aedc2558783662d11734848d.jpg","34x25cm",[],20,{"id":527,"slug":528,"title":529,"dynasty":51,"author":52,"museum":507,"description":530,"tags":531,"thumbUrl":532,"material":178,"size":533,"collection":127,"collections":534,"showCount":535,"zanCount":11,"manualWeight":11,"mainColor":127},220752,"fang-ge-jia-shan-shui-4-dong-qi-chang-220752","仿各家山水-4","此作用笔松秀空灵，以干笔淡墨铺展秋山幽居之境。近坡枯木疏林姿态萧散，村居隐于林木间，坡岸错落尽显野逸之趣。中远景山峦层叠，主峰奇崛高耸，以淡墨皴擦轻勾山石肌理，留白晕出水色烟岚的空濛悠远。\n\n全画以书入画，线条温润秀雅，不执着实景摹写，重在以笔墨传递清旷简远之意，寥寥数笔便将深秋林泉的幽寂淡远铺陈开来。以简驭繁，虚实相生间尽显文人画尚意重韵的特质，观之如临静谧山林，涤荡尘心。",[56,23,58,25,106,26,178,27,238,123,86,63,35,28,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a359e05e61b220785e0e20211602f.jpg","30.5 × 23.8厘米",[],19,{"id":537,"slug":538,"title":539,"dynasty":119,"author":425,"museum":20,"description":540,"tags":541,"thumbUrl":543,"material":127,"size":127,"collection":127,"collections":544,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":74},237586,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237586","王翚仿古山水册","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》。",[23,25,26,106,178,27,165,438,373,542,28,7,149,38],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45599eac91929665304e792add47aaa3.jpg",[],17,{"id":547,"slug":548,"title":549,"dynasty":119,"author":550,"museum":507,"description":551,"tags":552,"thumbUrl":553,"material":554,"size":555,"collection":127,"collections":556,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":127},220731,"xun-qin-tu-4-huang-xiang-jian-220731","寻亲图4","黄向坚","此作用浅绛糅合青绿晕染山水，远景山峦以淡墨轻扫，烟岚浮动间尽显清旷辽远。中近景山石以披麻皴出质，敷色柔和雅致，苍松茂林重笔点染，郁郁苍苍。\n\n长卷铺陈开江南水乡泽国之景，汀洲错落，帆影浮沉于烟波间，板桥村居隐在林木深处，人物往来其间，将山川静穆与人间烟火相融。笔墨兼具元人山水的萧散意趣与吴门画派的雅致温润，未刻意渲染行旅艰涩，只把绵长意绪藏在山光水色里，整体清和淡远，缓缓铺展出江南温润诗意，在咫尺长卷晕染出悠远沉静的山水况味。",[23,58,24,60,27,35,30,183,36,28,7,88,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ef4d8c19a7a9454ed2cb6e14ceafe4.jpg","水墨,设色,纸本,手卷","31.4 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（1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[23,58,25,26,618,178,38,27,35,63,65,28,7],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb48a113fab782bf8d9c30d4411519b.jpg",[],13,{"id":623,"slug":624,"title":625,"dynasty":119,"author":626,"museum":20,"description":627,"tags":628,"thumbUrl":629,"material":127,"size":127,"collection":127,"collections":630,"showCount":621,"zanCount":11,"manualWeight":11,"mainColor":46},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","董邦达","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[56,23,58,24,25,27,165,164,373,87,181,65,28,7,63,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":632,"slug":633,"title":634,"dynasty":119,"author":635,"museum":20,"description":636,"tags":637,"thumbUrl":638,"material":489,"size":490,"collection":127,"collections":639,"showCount":640,"zanCount":11,"manualWeight":11,"mainColor":74},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[23,58,105,25,26,106,27,63,35,107,30,28,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],12,{"id":642,"slug":643,"title":644,"dynasty":119,"author":645,"museum":53,"description":646,"tags":647,"thumbUrl":648,"material":649,"size":650,"collection":41,"collections":651,"showCount":640,"zanCount":11,"manualWeight":11,"mainColor":74},236745,"shan-shui-ce-zhuang-zhou-wang-yuan-qi-236745","山水册装轴","王原祁","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\n做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[23,58,178,25,60,26,27,35,30,28,7,33,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纸本设色","纵29cm，横42.3cm",[41,95,478],{"id":653,"slug":654,"title":655,"dynasty":51,"author":656,"museum":20,"description":657,"tags":658,"thumbUrl":660,"material":489,"size":490,"collection":127,"collections":661,"showCount":640,"zanCount":11,"manualWeight":11,"mainColor":46},236672,"shan-shui-shan-lu-zhi-236672","山水扇","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。",[659,23,58,564,25,26,27,35,107,63,28,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196bbb134e80b6f36e725053aa201834.jpg",[],{"id":663,"slug":664,"title":208,"dynasty":51,"author":52,"museum":53,"description":665,"tags":666,"thumbUrl":669,"material":670,"size":671,"collection":127,"collections":672,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":74},233803,"shan-shui-ce-dong-qi-chang-233803","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[23,25,26,178,38,27,35,63,30,335,85,65,667,28,7,66,668],"林木","点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75710c5e147415e81d5f1e9b06ef7dca.jpg","纸本，设色","纵26.3厘米，横25.5厘米",[],10,{"id":675,"slug":676,"title":677,"dynasty":119,"author":678,"museum":20,"description":679,"tags":680,"thumbUrl":682,"material":127,"size":127,"collection":127,"collections":683,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":74},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[56,23,58,57,681,60,26,38,27,36,86,35,107,63,28,65,7],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":685,"slug":686,"title":687,"dynasty":119,"author":221,"museum":20,"description":688,"tags":689,"thumbUrl":695,"material":127,"size":127,"collection":127,"collections":696,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":74},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。",[56,23,58,178,25,60,26,27,690,65,179,35,691,28,692,107,86,36,7,693,694,33],"山岩","亭阁","近石","远峰","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":698,"slug":699,"title":700,"dynasty":119,"author":221,"museum":20,"description":701,"tags":702,"thumbUrl":703,"material":127,"size":127,"collection":41,"collections":704,"showCount":705,"zanCount":11,"manualWeight":11,"mainColor":46},236553,"fu-rang-shan-shui-tu-shan-yi-ming-236553","傅让山水图扇","此作用笔简淡萧疏，近景寒林枯槎错落，枝桠虬曲苍劲，茅庐隐于林间，暗合幽居野逸之趣。平湖横陈如镜，将远近山岚轻揽入怀，中景山峦以渴笔慢皴，矾头苍润，带着清远的文人意趣。\n\n全幅墨色干湿互济，以枯淡墨色绘尽荒寒之境，右上角题字清隽，与山水意境相融相生。整体章法疏朗简净，暗承元人山水遗风，不见浓墨重彩，只以淡墨轻岚晕染出幽寂的林下之思，静穆之间仿若可听林风穿林、平湖漾波，将文人寄情丘山的闲逸尽藏于尺幅之中。",[23,58,564,25,26,27,88,108,123,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7ecfd72b7c604eda646d2f6a7b138.jpg",[41],9,{"id":707,"slug":708,"title":709,"dynasty":51,"author":710,"museum":20,"description":711,"tags":712,"thumbUrl":713,"material":127,"size":127,"collection":127,"collections":714,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":74},239196,"shan-chuan-ming-sheng-ce-song-xu-239196","山川名胜册","宋旭","此作以平远之法绘就江南水色，开阔湖面铺展画面，汀渚错落浮沉于烟波间，远山以淡墨轻扫，晕染出朦胧悠远的天际。近岸林木蓊郁，古木扶疏间隐现朱檐楼阁与临水廊榭，雅致静谧。水面之上渔舟泛波、飞鸟掠影，灵动点缀间漾开鲜活生机。\n\n笔墨简淡秀润，以赭色轻敷底色，整体设色清雅古朴，将江南水畔的悠然野趣尽数铺陈，笔墨间裹挟着文人心底的闲淡意绪，尽显空灵疏朗的山水意韵。",[23,60,178,27,26,35,197,36,86,179,181,28,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F536f529cbe3ea7f7312d041f06ba0ec3.jpg",[],{"id":716,"slug":717,"title":718,"dynasty":51,"author":381,"museum":20,"description":719,"tags":720,"thumbUrl":721,"material":127,"size":127,"collection":127,"collections":722,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":74},236406,"xiao-xiang-ba-jing-ce-wen-jia-236406","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（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。”",[23,25,27,178,26,179,86,35,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bde81821e696b755d18fe93ab41a32d.jpg",[],{"id":724,"slug":725,"title":726,"dynasty":119,"author":120,"museum":192,"description":727,"tags":728,"thumbUrl":729,"material":138,"size":127,"collection":127,"collections":730,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":74},215013,"fang-gu-shan-shui-ce-16-wang-jian-215013","仿古山水册-16","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[56,23,58,178,25,618,26,27,35,63,86,107,28,7,85,65,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3127628e515577f3ff665edc54ac18.jpg",[],{"id":732,"slug":733,"title":208,"dynasty":51,"author":734,"museum":20,"description":735,"tags":736,"thumbUrl":737,"material":127,"size":127,"collection":127,"collections":738,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":74},236926,"shan-shui-ce-qin-mao-de-236926","秦懋德","此作以浅绛绘就林泉幽居，山峦以淡墨晕染出层叠清姿，屋舍隐于林木间，枯木与茂树错落生姿，溪岸苔石隐现，淡冶烟岚弥散，意境清寂超逸。\n\n左侧题诗笔致疏放，与画境相映成趣，诗中古亭烟冷、竹畔琴鸣之境，恰合画面幽居遁世之致。书画相融，以简淡笔墨写尽林丘雅意，暗含隐逸襟怀，淡而有神，简中见深，尽显文人山水以意驭形的隽雅之美。",[23,58,178,60,25,26,27,63,35,107,335,28,7,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b547f9f1efcce269ec8f5494f6a61fe.jpg",[],7,{"id":741,"slug":742,"title":743,"dynasty":119,"author":744,"museum":20,"description":745,"tags":746,"thumbUrl":747,"material":127,"size":127,"collection":127,"collections":748,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":74},235073,"shan-shui-tu-ce-hua-yan-235073","山水图册","华嵒","此作用笔松秀简淡，以干笔皴擦晕染出远山腴润清苍，近岸杂木萧散错落，陂陀茅舍隐于林下，漾出空寂萧疏的秋日况味。\n右上题诗与画作相映成趣，诗画交融，将幽居独钓、寄兴烟霞的隐逸意趣藏于尺幅间。淡墨轻岚里尽显静穆萧散的文人逸致，简淡中见雅润，勾勒出江渚秋浦的清旷之境，把闲居寄怀的林下襟怀铺陈开来，淡而弥永，余韵悠长。",[23,58,178,25,163,26,27,35,63,28,7,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d83fce49b1c433c9f16b11175baf768.jpg",[],{"id":750,"slug":751,"title":752,"dynasty":18,"author":221,"museum":53,"description":753,"tags":754,"thumbUrl":759,"material":760,"size":761,"collection":127,"collections":762,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":74},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[23,58,681,25,60,27,239,65,179,28,7,755,756,182,757,758,26],"水景","工笔","河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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,58,178,25,26,106,27,179,35,28,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6290dafc2ea5b9f921b4423e1d1cbf47.jpg",[],{"id":952,"slug":953,"title":954,"dynasty":51,"author":221,"museum":20,"description":955,"tags":956,"thumbUrl":957,"material":489,"size":490,"collection":127,"collections":958,"showCount":943,"zanCount":11,"manualWeight":11,"mainColor":74},235139,"chen-dan-zhong-shan-shui-ce-yi-ming-235139","陈丹衷山水册","此作以淡笔绘就江南烟景，近岸苍松虬劲蓊翠，浅滩烟波氤氲，一叶扁舟悠然浮于水面，漾出闲淡野趣。中渚林木葱郁，远山层叠晕染，以留白衬出水雾空濛，村舍隐现山麓间，尽显幽寂清旷之致。\n诗画合璧，将倦客归思寄于山水林泉。浅绛设色清润柔和，笔墨松秀简淡，不事雕琢，以简驭繁，将江南水乡温润诗意与萧散林下之风相融，淡远意境暗合文人幽居林泉、寄情江湖的隐逸意趣，尽显雅致清远的文人山水意韵。",[57,23,58,178,60,27,28,7,124,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb02be495cd4d500c2fac8adda0e5905.jpg",[],{"id":960,"slug":961,"title":962,"dynasty":119,"author":963,"museum":20,"description":964,"tags":965,"thumbUrl":966,"material":127,"size":127,"collection":127,"collections":967,"showCount":943,"zanCount":11,"manualWeight":11,"mainColor":74},234358,"you-niao-shi-tu-ce-jin-kun-234358","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[23,58,178,60,163,38,27,373,438,28,7,124,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad041c21a79ac98fee5e6b835d4b67d.jpg",[],{"id":969,"slug":970,"title":971,"dynasty":119,"author":972,"museum":20,"description":973,"tags":974,"thumbUrl":976,"material":127,"size":127,"collection":127,"collections":977,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":74},238902,"fang-song-yuan-shan-shui-ce-dong-gao-238902","仿宋元山水册","董诰","这幅山水以水墨写就，主峰雄峙画面中央，皴笔苍劲老辣，将山石的嶙峋质感尽皆铺陈。山间烟岚轻漾，晕染出幽谷空濛，把远近山林的层次悄然拉开。水岸汀洲错落延展，村庐隐于疏林之间，板桥卧波连接野岸，枯木疏枝带着萧寒野趣。整体笔墨温润苍秀，追摹萧散简远的山水意境，淡墨轻岚里晕染出江南林泉的空澹闲雅，于尺幅间铺展出丘壑之深，尽显文人画静穆幽远的林下意趣，是颇具意韵的仿古佳构。",[23,25,27,106,26,178,310,86,179,35,36,29,28,7,65,975],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a344db5d2aae719cc6ae065d46043a0.jpg",[],{"id":979,"slug":980,"title":208,"dynasty":119,"author":626,"museum":20,"description":981,"tags":982,"thumbUrl":983,"material":489,"size":490,"collection":127,"collections":984,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":74},238700,"shan-shui-ce-dong-bang-da-238700","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”。",[23,25,26,38,27,34,35,107,30,28,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6765f4651fe2858f71973b491af4747.jpg",[],{"id":986,"slug":987,"title":208,"dynasty":119,"author":789,"museum":20,"description":988,"tags":989,"thumbUrl":990,"material":127,"size":127,"collection":127,"collections":991,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":74},238184,"shan-shui-ce-song-jun-ye-238184","此作用浅绛设色描摹林壑晓景，以披麻皴勾勒山峦肌理，笔墨温雅秀润。平林迤逦，溪岸蜿蜒，茅舍隐于茂林之下，远山含烟晕染出空濛气韵。配页行书清隽疏朗，诗画呼应，将晨间林麓的清逸氛围铺陈开来。山径通幽间，似能晓风拂面、啼鸟穿林，满卷皆为山居静穆清和之趣，仿若踏入空寂林居，揽尽晨岚氤氲的林下雅意，尽显传统山水的写意悠然。",[57,23,58,60,26,37,38,27,35,107,30,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce84782924ad29edac652b3aeeb5e3f.jpg",[],{"id":993,"slug":994,"title":995,"dynasty":119,"author":996,"museum":20,"description":997,"tags":998,"thumbUrl":999,"material":127,"size":127,"collection":127,"collections":1000,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":74},236516,"sun-shan-shui-ce-wang-ji-236516","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[23,25,178,26,27,179,35,29,28,7,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75639b7bc79d45de93aac6a8678288ab.jpg",[],{"id":1002,"slug":1003,"title":1004,"dynasty":119,"author":1005,"museum":20,"description":1006,"tags":1007,"thumbUrl":1008,"material":138,"size":127,"collection":127,"collections":1009,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":74},218010,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-8-ceng-yan-dong-218010","七道子山水人物画册18帧-8","曾衍东","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[56,23,58,178,25,26,27,35,107,63,62,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965361650a5dbd07ade36015dd5ec3b8.jpg",[],1777535705684]