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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[23,24,25,116,117,101,118,27,119,57,120,56,121,122,35,103,123,33,7],"立轴","工笔","界画","楼阁","廊","湖石","桃花","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[],119,{"id":130,"slug":131,"title":27,"dynasty":132,"author":133,"museum":134,"description":135,"tags":136,"thumbUrl":138,"material":87,"size":87,"collection":87,"collections":139,"showCount":140,"zanCount":45,"manualWeight":11,"mainColor":63},220477,"shan-shui-fu-bao-shi-220477","民国","傅抱石","中央美术学院美术馆","此作用笔秀润，设色雅致，以烟岚晕染远山，黛色层叠间漾出空濛秋意。中景丹枫与青松交错，赭石铺就秋山暖调，村居隐于林麓，野趣横生。近畔水榭临流，凭栏二人闲对，静赏天光云影，将秋日江村的幽寂闲恬铺陈开来。题画诗与笔墨相映，文心入画，将文人寄情山水、栖居林泉的诗意愿景藏于尺幅之间，观之如临清秋江村，尽揽山居雅趣。",[24,101,29,27,119,35,33,7,137,31,78],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],104,{"id":142,"slug":143,"title":144,"dynasty":95,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":152,"material":40,"size":153,"collection":42,"collections":154,"showCount":155,"zanCount":45,"manualWeight":11,"mainColor":63},214692,"shan-shui-tu-cha-shi-biao-214692","山水图","查士标","辽宁省博物馆","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[72,24,27,28,29,76,149,150,36,103,151,35,32,33,7],"柳树","河流","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[42],92,{"id":157,"slug":158,"title":159,"dynasty":160,"author":161,"museum":97,"description":162,"tags":163,"thumbUrl":165,"material":105,"size":166,"collection":42,"collections":167,"showCount":168,"zanCount":45,"manualWeight":11,"mainColor":46},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","元","钱选","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[72,23,24,25,26,101,117,75,77,27,35,79,36,78,31,33,7,164],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 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卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[72,24,25,26,28,27,29,75,76,77,33,7,35,192],"竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],57,{"id":198,"slug":199,"title":144,"dynasty":187,"author":200,"museum":201,"description":202,"tags":203,"thumbUrl":206,"material":207,"size":208,"collection":209,"collections":210,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":63},221666,"shan-shui-tu-ma-yuan-221666","马远","维多利亚和阿尔伯特博物馆","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”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[72,23,24,28,204,29,205,27,177,78,33,7,103],"扇面","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 淡设色","25.5X25.7","宋画精选",[209,42,211],"水墨画精选",{"id":213,"slug":214,"title":215,"dynasty":18,"author":68,"museum":216,"description":217,"tags":218,"thumbUrl":223,"material":40,"size":224,"collection":87,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":63},220018,"dong-zhuang-tu-ce-zhi-zhu-tian-shen-zhou-220018","东庄图册之竹田","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[72,24,28,27,219,100,29,220,79,221,33,7,222],"竹","田地","小径","农舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e87a0381a50c5450296ebf70e92533.jpg","纵28.6厘米，横33厘米",[],51,{"id":228,"slug":229,"title":144,"dynasty":95,"author":230,"museum":97,"description":231,"tags":232,"thumbUrl":233,"material":234,"size":235,"collection":42,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":63},218511,"shan-shui-tu-wang-jian-218511","王鉴","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[72,24,25,27,28,29,116,31,78,150,55,79,35,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纸本,水墨","纵155.3厘米，横86.9厘米",[42],48,{"id":239,"slug":240,"title":241,"dynasty":160,"author":242,"museum":243,"description":244,"tags":245,"thumbUrl":248,"material":249,"size":250,"collection":87,"collections":251,"showCount":252,"zanCount":45,"manualWeight":11,"mainColor":46},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","盛懋","台北故宫博物院","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,25,116,101,29,27,119,35,78,246,164,33,7,247],"溪流","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","绢本","纵204．5厘米，横108.2厘米",[],46,{"id":254,"slug":255,"title":256,"dynasty":160,"author":257,"museum":258,"description":259,"tags":260,"thumbUrl":262,"material":234,"size":263,"collection":42,"collections":264,"showCount":265,"zanCount":45,"manualWeight":11,"mainColor":63},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","方从义","私人收藏","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[72,23,24,25,26,28,27,29,77,76,261,38,35,37,246,33,7,34,247,79],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[42],44,{"id":267,"slug":268,"title":269,"dynasty":160,"author":270,"museum":69,"description":271,"tags":272,"thumbUrl":274,"material":87,"size":87,"collection":87,"collections":275,"showCount":276,"zanCount":90,"manualWeight":11,"mainColor":63},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","朱德润","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[72,24,23,26,28,29,27,35,79,273,33,7,76,77],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],43,{"id":278,"slug":279,"title":280,"dynasty":95,"author":281,"museum":282,"description":283,"tags":284,"thumbUrl":289,"material":234,"size":290,"collection":42,"collections":291,"showCount":276,"zanCount":45,"manualWeight":11,"mainColor":63},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","萧云从","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[72,24,25,26,28,29,27,78,35,79,285,33,7,31,286,38,287,288,103],"船只","丘壑","岸滩","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[42],{"id":293,"slug":294,"title":295,"dynasty":160,"author":296,"museum":243,"description":297,"tags":298,"thumbUrl":306,"material":307,"size":308,"collection":42,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[72,24,25,26,28,101,117,29,75,76,77,27,299,300,150,35,79,301,302,7,303,304,305],"孤山","平原","村落","远岫","平野","远树","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","白纸本","纵：28.4厘米，横：90.2厘米",[42,108],35,{"id":312,"slug":313,"title":314,"dynasty":95,"author":315,"museum":97,"description":316,"tags":317,"thumbUrl":320,"material":321,"size":322,"collection":211,"collections":323,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":46},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","程正揆","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[72,24,25,26,28,27,29,78,35,150,55,79,33,7,318,319,261,301],"瀑布","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纸本，墨笔","纵26厘米，横205厘米",[211],33,{"id":326,"slug":327,"title":328,"dynasty":95,"author":329,"museum":243,"description":330,"tags":331,"thumbUrl":333,"material":307,"size":334,"collection":87,"collections":335,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":63},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","王时敏","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[72,24,25,116,28,29,27,35,332,78,56,57,33,7,77],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],31,{"id":338,"slug":339,"title":340,"dynasty":95,"author":96,"museum":69,"description":341,"tags":342,"thumbUrl":345,"material":87,"size":87,"collection":87,"collections":346,"showCount":347,"zanCount":45,"manualWeight":11,"mainColor":63},224511,"shan-shui-tu-ce-8-kai-2-shi-tao-224511","山水图册8开-2","此作用淡墨轻岚晕染远山，虚实相生间漾开空濛雾气，将山峦融在朦胧烟霭里，褪去峻拔锋芒只剩柔润余韵。近景村居错落，茅舍柴篱隐在林木苇草间，朴拙野趣扑面而来。枯笔焦墨点染丛树苔痕，淡赭轻敷屋舍坡岸，设色浅淡柔和，笔致松秀灵动。留白恰到好处，水汽氤氲的溪面与烟岚呼应，营造出静谧清寂的乡野氛围，似能将观者带入幽远山居闲境。笔墨藏着随性自在的画中真意，淡而有味，简中生趣，尽显文人山水的雅逸禅意。",[72,24,25,100,28,101,29,27,79,35,78,343,33,7,344],"草丛","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f2a9746cd204e4d9f37a292700b3b8.jpg",[],29,{"id":349,"slug":350,"title":351,"dynasty":95,"author":352,"museum":97,"description":353,"tags":354,"thumbUrl":356,"material":59,"size":87,"collection":87,"collections":357,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":63},234115,"shan-shui-hua-wang-san-xi-234115","山水画","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[24,25,26,101,29,28,27,38,78,35,355,32,119,33,7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江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[23,24,25,26,28,29,27,376,377,285,301,33,7,77],"江帆","山市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],22,{"id":382,"slug":383,"title":384,"dynasty":95,"author":385,"museum":386,"description":387,"tags":388,"thumbUrl":394,"material":249,"size":395,"collection":87,"collections":396,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":63},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[72,24,117,101,389,27,119,55,56,103,57,35,78,123,390,391,392,33,7,247,393],"青绿","路径","栏杆","建筑群","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4.jpg","纵43.3厘米、横76.5厘米",[],{"id":398,"slug":399,"title":400,"dynasty":187,"author":19,"museum":243,"description":401,"tags":402,"thumbUrl":405,"material":249,"size":406,"collection":87,"collections":407,"showCount":408,"zanCount":45,"manualWeight":11,"mainColor":46},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[24,351,101,29,78,35,150,32,403,164,33,7,285,404],"山寺","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","纵114cm,横57cm",[],21,{"id":410,"slug":411,"title":412,"dynasty":18,"author":413,"museum":243,"description":414,"tags":415,"thumbUrl":416,"material":417,"size":418,"collection":42,"collections":419,"showCount":420,"zanCount":45,"manualWeight":11,"mainColor":46},219415,"shan-shui-zhou-zhao-xun-219415","山水轴","赵洵","这幅山水轴铺展江南景致，笔墨温润雅致。远处山峦以淡墨皴染，层叠间透出苍莽的韵致；江面烟波浩渺，行舟点点如萍，或扬帆或泊岸，尽得水天之趣。近景林麓葱郁，村舍错落隐于浓荫，亭台与民居相映，几处人物或漫步小径、或聚于檐下，情态悠然。笔墨兼工带写，树木枝干苍劲，叶色层次丰富；山石用细皴勾勒，晕染出温润质感。画面左上方题字与钤印相映，添文人雅趣。整体意境平和悠远，如诗中田园，将自然之美与人间烟火融于一卷，尽显江南水乡的温婉与生机。",[24,101,29,116,27,35,285,103,288,33,7,79,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1a28851fde1e54756a28f63c3e8510.jpg","绢本,设色","156.4x44.9厘米",[42],20,{"id":422,"slug":423,"title":424,"dynasty":95,"author":425,"museum":258,"description":426,"tags":427,"thumbUrl":430,"material":40,"size":431,"collection":42,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":46},218311,"han-shan-si-tu-gu-zhong-quan-218311","寒山寺图","顾仲泉","月色轻笼层峦，远山如黛晕染朦胧。河面波光微漾，一叶扁舟张帆缓行，似载着晚归的思绪。岸边疏林掩映屋宇，禅意隐于其间。近景石砌水门轮廓苍劲，与远处静谧相映成趣。笔墨淡雅却含情致，江南水乡的清寂与古寺的悠远融于一卷。晚风仿佛拂过帆樯，隐约传来钟鸣，引人沉入悠然夜色，心绪随波轻漾，沉醉在画中禅意与诗意交织的静谧里。",[24,25,116,101,27,118,428,32,119,55,56,35,79,285,429,33,7],"明月","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[42],18,{"id":435,"slug":436,"title":437,"dynasty":95,"author":438,"museum":243,"description":439,"tags":440,"thumbUrl":441,"material":59,"size":87,"collection":42,"collections":442,"showCount":443,"zanCount":11,"manualWeight":11,"mainColor":63},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","王翚","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚 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。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,100,28,30,29,77,27,57,102,177,33,7,221,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[42],17,{"id":445,"slug":446,"title":447,"dynasty":95,"author":448,"museum":97,"description":449,"tags":450,"thumbUrl":451,"material":249,"size":87,"collection":87,"collections":452,"showCount":453,"zanCount":11,"manualWeight":11,"mainColor":46},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[23,24,25,26,28,101,27,31,119,55,56,32,57,77,35,79,285,33,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],16,{"id":455,"slug":456,"title":457,"dynasty":18,"author":458,"museum":97,"description":459,"tags":460,"thumbUrl":461,"material":125,"size":462,"collection":87,"collections":463,"showCount":464,"zanCount":11,"manualWeight":11,"mainColor":63},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷","仇英","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[24,25,26,101,117,29,76,75,77,27,103,119,55,56,57,81,35,164,33,7,301,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg","纵26.9厘米，横124厘米",[],12,{"id":466,"slug":467,"title":468,"dynasty":18,"author":469,"museum":69,"description":470,"tags":471,"thumbUrl":476,"material":87,"size":87,"collection":87,"collections":477,"showCount":478,"zanCount":11,"manualWeight":11,"mainColor":63},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","杨文骢","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[24,25,116,28,29,27,35,472,473,474,33,7,475,390],"岩石","洞穴","小屋","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],10,{"id":480,"slug":481,"title":482,"dynasty":95,"author":145,"museum":69,"description":483,"tags":484,"thumbUrl":486,"material":87,"size":87,"collection":87,"collections":487,"showCount":478,"zanCount":11,"manualWeight":11,"mainColor":63},234645,"shan-shui-ce-cha-shi-biao-234645","山水册","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,100,28,76,29,27,57,102,33,7,485,77],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c45098315924d5068c0fa9dad5a669e.jpg",[],{"id":489,"slug":490,"title":491,"dynasty":95,"author":492,"museum":69,"description":493,"tags":494,"thumbUrl":495,"material":87,"size":87,"collection":87,"collections":496,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":63},238832,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238832","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,101,27,29,100,78,35,79,33,7,38,123,221,247,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3cb5bba0e6f35eeb191e169400c6aa.jpg",[],9,{"id":499,"slug":500,"title":27,"dynasty":95,"author":501,"museum":69,"description":502,"tags":503,"thumbUrl":504,"material":87,"size":87,"collection":87,"collections":505,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":63},224435,"shan-shui-wang-yu-224435","王昱","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[72,24,25,27,116,101,28,29,78,35,79,33,7,31,301,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":507,"slug":508,"title":482,"dynasty":95,"author":509,"museum":69,"description":510,"tags":511,"thumbUrl":512,"material":87,"size":87,"collection":87,"collections":513,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":63},236870,"shan-shui-ce-wang-yuan-qi-236870","王原祁","此帧取平远章法，近岸陂陀之上杂木扶苏，茅舍隐于树荫间，漾出幽寂村居之致。水面开阔空明，留白尽现湖光清旷。远山以干笔淡墨皴擦，山峦平缓舒展，苔点疏简萧散。\n\n画作师法元人萧散意趣，以渴笔淡墨层层积染，笔墨苍润松秀，在清空格调中融入浑朴醇厚的质感。题字朱印点缀提亮画面，整幅气息静穆淡远，于简淡中见苍劲，枯涩中含温润，观之如临林泉，尘俗尽涤，尽显文人画以意驭笔的雅致格调。",[24,25,100,28,29,27,219,102,474,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c9c6dc81a288f4e46e612797932fe.jpg",[],8,{"id":516,"slug":517,"title":482,"dynasty":95,"author":509,"museum":69,"description":518,"tags":519,"thumbUrl":522,"material":85,"size":86,"collection":87,"collections":523,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":63},236860,"shan-shui-ce-wang-yuan-qi-236860","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,25,100,28,101,29,27,102,520,57,521,33,7],"石","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633eb9f8b4163d37394a1a0247798738.jpg",[],{"id":525,"slug":526,"title":482,"dynasty":95,"author":527,"museum":69,"description":528,"tags":529,"thumbUrl":530,"material":87,"size":87,"collection":87,"collections":531,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":63},236081,"shan-shui-ce-shen-zong-jing-236081","沈宗敬","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[24,25,23,100,101,28,29,27,78,35,79,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":533,"slug":534,"title":535,"dynasty":95,"author":536,"museum":69,"description":537,"tags":538,"thumbUrl":539,"material":85,"size":86,"collection":87,"collections":540,"showCount":541,"zanCount":11,"manualWeight":11,"mainColor":63},237282,"za-hua-ce-chen-zi-237282","杂画册","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,25,100,28,101,27,177,485,103,33,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1242b39a30b6b8be408502d9b8728d.jpg",[],5,{"id":543,"slug":544,"title":482,"dynasty":95,"author":545,"museum":69,"description":546,"tags":547,"thumbUrl":548,"material":87,"size":87,"collection":87,"collections":549,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":46},239007,"shan-shui-ce-li-dong-239007","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,25,100,28,101,27,119,78,35,33,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6e1692f6facef6392c9eae649ea97f.jpg",[],3,{"id":552,"slug":553,"title":482,"dynasty":95,"author":554,"museum":69,"description":555,"tags":556,"thumbUrl":559,"material":87,"size":87,"collection":87,"collections":560,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":63},238203,"shan-shui-ce-tang-dai-238203","唐岱","此作绘江南早春胜景，烟波漾漾间，岸柳垂丝、桃花灼艳，村居错落隐在烟林之中，远山含黛如螺，汀上渔舟轻泛，处处漫着融融春意。设色柔丽清雅，浅绛晕染山峦，青绿点饰草木，笔致秀润苍雅，构图疏朗舒逸。\n左侧题诗与画境呼应，笔墨端秀，诗画合璧，将春日湖山的温柔生机铺陈开来，尽显文人画闲适淡远的意趣，把东风暖遍青芜的诗意具象成缱绻春景，淡冶雅致中藏着沉静的笔墨韵致，写尽江南春朝的温润明媚。",[24,25,100,101,29,27,149,122,55,79,285,35,557,33,7,246,558],"河岸","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13998ad4effe87246a6b48492d2dc99.jpg",[],{"id":562,"slug":563,"title":482,"dynasty":95,"author":564,"museum":69,"description":565,"tags":566,"thumbUrl":567,"material":87,"size":87,"collection":87,"collections":568,"showCount":550,"zanCount":11,"manualWeig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