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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,45,125,94,70,26,150,112,190,110,72,96,76,75,7],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],45,{"id":195,"slug":196,"title":197,"dynasty":170,"author":171,"museum":20,"description":198,"tags":199,"thumbUrl":205,"material":31,"size":32,"collection":33,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":86},288280,"xiao-xiang-tu-dong-yuan-288280","潇湘图","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），首席军机大臣，上书房总师傅，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，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,45,24,144,94,47,26,48,70,200,111,201,73,202,76,203,204,75,7],"江河","洲渚","飞鸟","行书","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],36,{"id":209,"slug":210,"title":211,"dynasty":41,"author":212,"museum":20,"description":213,"tags":214,"thumbUrl":219,"material":31,"size":32,"collection":33,"collections":220,"showCount":221,"zanCount":35,"manualWeight":11,"mainColor":36},289457,"gui-yu-tu-li-cheng-289457","归渔图","李成","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[215,24,46,26,48,216,217,112,111,49,218,7],"扇面","枯树","小屋","归渔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452eb3b75c778a86f0bc37c9d3e801fd.jpg",[],32,{"id":223,"slug":224,"title":225,"dynasty":41,"author":91,"museum":20,"description":226,"tags":227,"thumbUrl":235,"material":33,"size":33,"collection":33,"collections":236,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":36},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,45,24,94,228,47,48,229,230,231,112,232,233,7,234,77],"花鸟","斧劈皴","留白","竹","溪石","鸳鸯","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":41,"author":241,"museum":20,"description":242,"tags":243,"thumbUrl":247,"material":31,"size":32,"collection":33,"collections":248,"showCount":249,"zanCount":11,"manualWeight":11,"mainColor":86},289380,"dong-po-chi-bi-tu-wang-shen-289380","东坡赤壁图","王诜","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[24,215,47,70,111,110,244,245,246,7,48],"崖壁","人物","赤壁夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d6877a997956ae6ffceae87c8d7908.jpg",[],30,{"id":251,"slug":252,"title":253,"dynasty":41,"author":254,"museum":67,"description":255,"tags":256,"thumbUrl":259,"material":31,"size":32,"collection":33,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":36},288420,"shan-cun-gui-qi-tu-yan-ci-yu-288420","山村归骑图","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[45,24,70,47,48,72,148,74,257,258,75,7],"山村","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4996dfe72e1b851417cc3efdcb3e355c.jpg",[],29,{"id":263,"slug":264,"title":265,"dynasty":65,"author":266,"museum":67,"description":267,"tags":268,"thumbUrl":269,"material":162,"size":270,"collection":33,"collections":271,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":36},287597,"xue-xi-gui-zhao-zhou-zhu-de-run-287597","雪溪归棹轴","朱德润","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[24,70,125,49,111,150,112,216,72,190,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90726182919826caa58237122e329861.jpg","144.9x85.2",[],27,{"id":274,"slug":275,"title":276,"dynasty":41,"author":277,"museum":20,"description":278,"tags":279,"thumbUrl":282,"material":31,"size":32,"collection":33,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":36},289339,"song-gang-mu-se-tu-zhao-ling-rang-289339","松冈暮色图","赵令穰","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[215,24,45,46,97,175,280,281,47,48,7],"暮色",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知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,24,46,304,305,306,307,308,309,150,73,175,310,311,7,312,313,314,76,75,48],"文人画","青绿设色","茅屋","修竹","坡石","溪水","水渚","仙居","荒寒","幽冷","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纸本","纵48厘米，横28厘米",[],{"id":320,"slug":321,"title":322,"dynasty":41,"author":323,"museum":67,"description":324,"tags":325,"thumbUrl":328,"material":31,"size":32,"collection":33,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":36},289983,"lu-yan-tu-cui-bai-289983","芦雁图","崔白","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[23,45,24,215,26,25,228,326,327,178,7],"芦苇","雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2977e53530733292bf2afc1fd715202.jpg",[],22,{"id":332,"slug":333,"title":334,"dynasty":170,"author":335,"museum":20,"description":336,"tags":337,"thumbUrl":338,"material":31,"size":32,"collection":33,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":86},289377,"xi-shan-yuan-xiu-tu-jing-hao-289377","溪山远岫图","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[23,45,24,215,70,47,48,175,148,190,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf0dd9927f4e6e4fb2fa2d0fcb8487.jpg",[],21,{"id":342,"slug":343,"title":344,"dynasty":65,"author":345,"museum":346,"description":347,"tags":348,"thumbUrl":354,"material":162,"size":33,"collection":355,"collections":356,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":60},219242,"han-lin-ji-xue-tu-chao-xian-jin-zhi-219242","寒林霁雪图","朝鲜·金禔","美国克利夫兰艺术博物馆","雪裹层岩，寒林疏枝横斜，墨色皴擦间晕开雪后空濛。左侧屋舍隐于林麓，似藏暖意；远岫如黛横陈，天际淡远，水面孤舟轻泛，更添清寂。笔意简淡却见深致，绢素上留白与墨韵交织，凝住霁雪后的清冷静谧——风过寒枝的微吟，雪落远山的轻响，仿佛都在这山水间流转，尽显空远之趣与隐者般的安然。每一处线条都藏着细腻心思，将雪霁后的天地凝作一幅清绝画卷，让观者沉湎于这份独有的静谧与悠远。",[23,45,24,94,70,47,48,230,51,349,190,350,111,351,352,7,353],"层岩","远岫","雪霁","清寂","悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2991e912331c63c1479894bce4fc0cd.jpg","设色画精选",[355],{"id":358,"slug":359,"title":360,"dynasty":41,"author":361,"museum":20,"description":362,"tags":363,"thumbUrl":369,"material":31,"size":32,"collection":33,"collections":370,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":36},290479,"bai-miao-shi-nv-tu-li-gong-lin-290479","白描仕女图","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,364,365,245,366,52,367,95,368,7],"白描","仕女图","美人","梅","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68ea5e92a1ceab7ed9498193d5829e8.jpg",[],20,{"id":373,"slug":374,"title":375,"dynasty":41,"author":376,"museum":20,"description":377,"tags":378,"thumbUrl":381,"material":31,"size":32,"collection":33,"collections":382,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":36},289656,"jiang-ting-wan-tiao-tu-zhu-guang-pu-289656","江亭晚眺图","朱光普","[宋]字东美，汴（今河南开封）人。南渡（一一二七）补入画院。",[215,24,46,96,111,148,379,380,150,47,26,7],"竹林","江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bc08ea9cd11e3633b5ffd65194ddc0.jpg",[],{"id":384,"slug":385,"title":386,"dynasty":41,"author":387,"museum":20,"description":2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1774-1840）德国早期浪漫主义风景画家。1794～1798年就学于哥本哈根美术学院。1816年起在德累斯顿学院任教。其作品常带冷寂虚幻的情味和神秘的宗教气息。主要作品有《山上的十字架》(1807)、《雪中的修道院废墟》(1810)、《两人观月》(1819)、《冰河中航船失事》(1822)等。",[463,70,175,464,465,466,467,153,7],"油画","农田","村庄","教堂","晨雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc008ce1c00f1dc55bc2c8ec715b67a92.jpg",[],13,{"id":472,"slug":473,"title":474,"dynasty":41,"author":19,"museum":20,"description":475,"tags":476,"thumbUrl":479,"material":31,"size":32,"collection":33,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":36},289440,"guan-yun-tu-yi-ming-289440","观云图","这幅小品以边角取景，暮色昏沉里，墨色晕染开氤氲云烟，将天地晕成一派幽寂朦胧。左侧高台朱栏隐现，隐约可见人影凭栏远眺，似在静看流云舒展、山岚轻移。右侧危峰兀立，林舍错落于山脚，远山在烟霭里淡成一抹浅痕，虚实相映间尽显空灵悠远。\n\n全作用墨苍润柔和，以简淡笔意勾勒出暮色观云的清寂氛围，将寄情山水、静观天地的雅致襟怀融于尺幅之间，把片刻悠然闲思永久定格，氤氲着静谧淡远的古典意趣。",[24,46,95,47,52,175,477,478,7],"云","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0705d23c95cd7cabb9f8c7c23e6b37fb.jpg",[],9,{"id":483,"slug":484,"title":485,"dynasty":41,"author":19,"museum":20,"description":486,"tags":487,"thumbUrl":488,"material":31,"size":32,"collection":33,"collections":489,"showCount":490,"zanCount":11,"manualWeight":11,"mainColor":36},290242,"shan-shui-ren-wu-tu-yi-ming-290242","山水人物图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,215,24,70,245,148,190,98,47,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f379a24a4e7e5aec6c81489e76ec9a.jpg",[],8,{"id":492,"slug":493,"title":494,"dynasty":41,"author":19,"museum":20,"description":486,"tags":495,"thumbUrl":497,"material":31,"size":32,"collection":33,"collections":498,"showCount":490,"zanCount":11,"manualWeight":11,"mainColor":36},290231,"xi-ge-yuan-tiao-tu-yi-ming-290231","溪阁远眺图",[24,46,47,48,52,175,148,151,496,7],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b38460c938223f270ede52c32aa5e1.jpg",[],{"id":500,"slug":501,"title":502,"dynasty":186,"author":19,"museum":20,"description":503,"tags":504,"thumbUrl":506,"material":31,"size":32,"collection":33,"collections":507,"showCount":490,"zanCount":11,"manualWeight":11,"mainColor":508},288103,"shan-si-wen-dao-tu-li-zhou-yi-ming-288103","山寺问道图立轴","淡墨晕染出山岚空濛，远山隐在烟霭间，如美人敛眉含黛。崖壁奇崛，皴笔硬朗刻画出山石苍劲肌理，古松虬曲扎根危岩，枝叶舒展间带萧疏野趣。山径蜿蜒盘桓，半山古寺藏于松涛深处，飞檐翘角若隐若现，禅意暗生。溪畔三两行人正拾级缓行，似欲赴山寺问道，幽寂山林因这几抹人影多了灵动意趣。\n\n画作以虚实相生之法铺陈意境，淡墨轻岚衬出世外林泉的静穆清远，将文人寄情山水、寻幽问道的雅致襟怀藏于尺幅间，简淡笔墨里尽是悠远林下之思。",[23,24,125,46,47,48,52,97,72,112,245,505,96,74,75,7],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0dd14d32bd01d376f036a7af62e871.jpg",[],"F48FB1",{"id":510,"slug":511,"title":512,"dynasty":18,"author":19,"museum":20,"description":513,"tags":514,"thumbUrl":520,"material":31,"size":32,"collection":33,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":86},281533,"hui-di-xue-jing-lu-yan-tu-qi-bao-shao-yuan-pan-yi-ming-281533","灰地雪景芦雁图七宝烧圆盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[515,516,517,25,49,518,326,519,7,228],"琺瑯器","器","圆盘","芦雁","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93b04e5fe37f528bd868e4c1211cd70.jpg",[],7,{"id":524,"slug":525,"title":526,"dynasty":41,"author":19,"museum":20,"description":486,"tags":527,"thumbUrl":529,"material":31,"size":32,"collection":33,"collections":530,"showCount":531,"zanCount":11,"manualWeight":11,"mainColor":86},290251,"ping-hu-xue-ji-tu-yi-ming-290251","平湖雪霁图",[45,24,94,215,47,70,49,528,148,190,7],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13613725d654c3c03724561843e7c5ad.jpg",[],6,{"id":533,"slug":534,"title":535,"dynasty":41,"author":19,"museum":20,"description":536,"tags":537,"thumbUrl":540,"material":31,"size":32,"collection":33,"collections":541,"showCount":531,"zanCount":11,"manualWeight":11,"mainColor":86},289974,"shui-cun-yan-ai-tu-yi-ming-289974","水村烟霭图","此作用笔清润简淡，以水墨晕染铺就江南水村晓烟初笼之景。近岸苍松错落，篱舍隐于林侧，浅渚汀洲朦胧于薄雾间。远山以淡墨轻皴，杂木以浓墨点簇，和空濛烟霭相融，虚实相生间晕开悠远层次。留白水面晕染如烟，隐约见渔舟静卧波心，将水乡晨间的恬谧柔婉尽数铺陈。画作以小见大，把乡野幽居的悠然诗意藏在氤氲水汽中，虚淡的笔墨托衬出林泉寄兴的雅致意境，将江南水村的空寂宁和揉进朦胧烟色里，尽显山水小品含蓄悠远的雅致意趣。",[23,215,24,45,47,70,48,148,538,539,7],"村落","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda1c6700e9211b3673abb16a9c695b6.jpg",[],{"id":543,"slug":544,"title":545,"dynasty":459,"author":19,"museum":20,"description":546,"tags":547,"thumbUrl":556,"material":33,"size":33,"collection":33,"collections":557,"showCount":531,"zanCount":11,"manualWeight":11,"mainColor":86},225323,"fu-shi-hui-68-yi-ming-225323","浮世绘68","这幅风景绘以大开大合的构图铺陈峡谷索桥之景。苍劲古松下，高悬的索桥连接两岸险崖，两名旅人负物徐行，步履安然。留白晕染出云气翻涌的深谷，拉满视觉纵深感，崖顶小鹿驻足远眺，为雄奇山野添了几分灵动。\n\n石青与砂黄撞色明快澄澈，勾勒出清旷辽远的山间氛围，线条凝练利落，精准带出索桥的紧绷张力，将旅人行于险途的悠然从容尽数刻画。自然雄奇与人间烟火柔和相融，尽显静谧幽远的山野意趣，仿佛山风拂面，能听见索桥轻晃的细碎声响，静与动在此间悄然平衡。",[548,26,70,549,550,551,552,553,202,554,555,7],"浮世绘","索桥","峡谷","古松","旅人","小鹿","石青","砂黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684233528e77564ba82dc61d2bb40292.jpg",[],{"id":559,"slug":560,"title":561,"dynasty":18,"author":562,"museum":20,"description":563,"tags":564,"thumbUrl":573,"material":33,"size":33,"collection":33,"collections":574,"showCount":531,"zanCount":11,"manualWeight":11,"mainColor":86},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","王翚","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[23,24,45,125,46,47,71,72,244,565,73,190,566,567,568,7,569,570,571,572,234],"山谷","溪涧","乱石","浅滩","闲雅","雄浑","秀逸","清旷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],{"id":576,"slug":577,"title":578,"dynasty":41,"author":19,"museum":20,"description":486,"tags":579,"thumbUrl":581,"material":31,"size":32,"collection":33,"collections":582,"showCount":583,"zanCount":11,"manualWeight":11,"mainColor":36},290245,"shan-ju-dui-yi-tu-yi-ming-290245","山居对奕图",[23,215,24,45,47,70,52,97,413,580,7,48],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d0ed0a8274280bc753718e1506b4b0.jpg",[],5,{"id":585,"slug":586,"title":64,"dynasty":41,"author":19,"museum":20,"description":486,"tags":587,"thumbUrl":588,"material":31,"size":32,"collection":33,"collections":589,"showCount":583,"zanCount":11,"manualWeight":11,"mainColor":36},290241,"shan-shui-tu-yi-ming-290241",[215,24,45,70,111,96,110,72,112,98,48,47,26,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fe85393b9a268371e562b0ee58655e.jpg",[],{"id":591,"slug":592,"title":593,"dynasty":41,"author":19,"museum":20,"description":594,"tags":595,"thumbUrl":597,"material":31,"size":32,"collection":33,"collections":598,"showCount":583,"zanCount":11,"manualWeight":11,"mainColor":86},289355,"zhu-tang-su-yan-tu-yi-ming-289355","竹塘宿雁图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[215,24,47,231,327,596,228,7],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb20189094ffa4e81ea1e570de60c56a.jpg",[],{"id":600,"slug":601,"title":602,"dynasty":41,"author":19,"museum":20,"description":603,"tags":604,"thumbUrl":610,"material":33,"size":33,"collection":33,"collections":611,"showCount":583,"zanCount":11,"manualWeight":11,"mainColor":86},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","秋江瞑泊图","宋 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北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,45,24,94,57,47,26,46,48,75,605,606,148,111,607,608,280,609,7,160],"山","水","停泊","江岸","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":613,"slug":614,"title":615,"dynasty":18,"author":616,"museum":617,"description":618,"tags":619,"thumbUrl":623,"material":33,"size":33,"collection":82,"collections":624,"showCount":583,"zanCount":11,"manualWeight":11,"mainColor":625},201847,"xi-jing-qiu-xin-tu-zhou-wang-san-xi-201847","溪静秋新图轴","王三锡","上海博物馆","秋光轻洒溪山，近岸树木错落，或枝叶疏朗，或垂丝摇曳，尽显秋意萧疏之态。山石以淡墨皴擦，纹理质朴，与坡地草痕相映。远处峰峦淡远，水面空濛，一派静谧悠远的秋景。笔墨简约却意韵悠长，线条勾勒与墨色晕染相融，将秋日溪山的清幽之美悄然铺展，似能感受林间风轻，水畔气清，引人沉醉于这份宁静雅致之中。",[47,70,620,48,148,72,7,152,621,622,23],"秋景","意境","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2926ca566a8f0452fc34262e171fcc17.jpg",[82],"966f3c",{"id":627,"slug":628,"title":629,"dynasty":41,"author":19,"museum":20,"description":630,"tags":631,"thumbUrl":633,"material":31,"size":32,"collection":33,"collections":634,"showCount":635,"zanCount":11,"manualWeight":11,"mainColor":36},290107,"jiang-cun-tu-yi-ming-290107","江村图","此作是典型的江南平远小景，淡墨晕染的远山隐在烟霭中，虚实相生晕开空濛暮色。沙洲之上茂林成荫，枝叶皴擦苍劲朴拙，村居藏在浓荫深处，暗合江村烟火意趣。\n\n水面皴出细碎波纹，渔翁驾扁舟，长篙划破江天寂静，漾开闲淡的生机。右下角岸渚老树盘虬，与左侧沙洲遥相呼应。\n\n整幅以淡赭铺底，墨色层次柔和温婉，摒去繁复勾勒，以极简构图烘托出江村日暮的恬然闲适。将寄情山水的隐逸心境铺陈绢素，淡而愈真，简而意长，仿佛能闻水波轻摇、晚风穿林，尽显江南水乡悠然野趣。",[23,24,70,47,111,148,98,112,632,7],"江村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd75706a44553aa4775e782b4a7004a5.jpg",[],4,{"id":637,"slug":638,"title":639,"dynasty":459,"author":19,"museum":20,"description":640,"tags":641,"thumbUrl":652,"material":31,"size":32,"collection":33,"collections":653,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":86},289067,"julien-mue-re-drawing-room-of-the-plas-spa-yi-ming-289067","Julien Muère--Drawing Room of the Plas. Spa","这幅水彩画晕开柔雅色调，将午后的松弛闲逸定格成永恒。暖阳穿窗而入，给暖棕木纹镀上薄金，携着窗外山岚绿意漫进房间。\n\n身着曳地白纱的女子斜倚竖琴旁，似刚停驻拨弦，侧脸笼在纱帘漏下的光影里，漫着倦怠温柔。房间陈设处处流露旧调雅致：壁炉台的铜饰雕塑凝着复古意趣，墙沿挂画晕着岁月质感，丝绒窗帘垂着柔滑褶皱，雕花座椅绣着釉蓝纹样，每一处细节都铺陈出旧日贵族的精致日常。\n\n室外山岚与室内静谧温柔衔接，让这方小天地既有烟火暖意，又带着清隽诗意，把慵懒松弛的午后氛围描摹得淋漓尽致。",[642,643,644,645,646,647,648,649,7,650,651],"水彩画","西洋画","室内场景","起居室","女子","竖琴","西洋家具","窗景","织物","挂画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea84235e6f60b98d8ac29929493de518.jpg",[],2,{"id":656,"slug":657,"title":658,"dynasty":459,"author":19,"museum":20,"description":659,"tags":660,"thumbUrl":666,"material":31,"size":32,"collection":33,"collections":667,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":86},288778,"rembrandt-woman-reading-yi-ming-288778","Rembrandt--Woman Reading","这幅速写以松弛却精准的笔触，定格了女子凝神阅读的瞬间。单色晕染铺陈出柔和光影，头巾厚重的褶皱衬出面部低垂的专注轮廓，指节轻按书页，仿佛能感知指尖贴合纸面的力道，伏案的姿态松弛沉静。\n\n笔墨虚实拿捏精妙，虚化的背景将视线牢牢锚定在女子与书页之上，留白与晕染交织，将沉浸于文字的静谧氛围缓缓晕开。没有繁复修饰，却将阅读时的安宁心绪传递得淋漓尽致，粗粝的笔触感带着即兴的鲜活，把日常一隅的松弛瞬间永久留存，尽显速写捕捉气韵的动人魅力。",[661,245,646,662,663,7,664,665],"速写","阅读","单色晕染","松弛","日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9b1531bda3d651d458255e8e31a763.jpg",[],{"id":669,"slug":670,"title":671,"dynasty":18,"author":19,"museum":20,"description":672,"tags":673,"thumbUrl":678,"material":31,"size":32,"collection":33,"collections":679,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":86},281510,"dong-yang-duan-hua-shan-shui-bi-yi-yi-ming-281510","东洋缎画山水壁衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[674,675,676,46,111,245,326,677,7],"缎画","壁衣","布料","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2bea7abf597a77f675e930b1cbf701.jpg",[],{"id":681,"slug":682,"title":683,"dynasty":18,"author":684,"museum":617,"description":685,"tags":686,"thumbUrl":695,"material":33,"size":33,"collection":82,"collections":696,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":697},203369,"hua-shan-shi-er-jing-tu-ce-dai-ben-xiao-203369","华山十二景图册","戴本孝","峰峦奇崛，山石以简洁皴法勾勒肌理，淡墨晕染出空灵之境。笔墨苍劲中见秀逸，线条刚健却含蕴藉，将华山的险峻与清寂融为一体。山间亭台隐现，林木疏朗，题跋书法与画作相映成趣，尽显文人画诗画合一的韵味。每帧皆为独立景致，却气脉连贯，于咫尺间展现华山十二景的雄奇幽深，传递自然与人文交织的静谧之美。",[24,47,48,70,414,96,76,75,687,203,688,72,689,73,304,152,690,691,352,692,693,7,694,23],"册","题跋","峰峦","勾勒","晕染","雄奇","幽深","诗画合一","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63cfa9e421d3d6cddafd3f1c8dd688c4.jpg",[82],"e3d8cf",{"id":699,"slug":700,"title":701,"dynasty":459,"author":19,"museum":20,"description":702,"tags":703,"thumbUrl":710,"material":31,"size":32,"collection":33,"collections":711,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":86},289248,"polidoro-da-caravaggio-the-holy-family-yi-ming-289248","Polidoro da Caravaggio--The Holy Family","这幅郊野休憩的场景以棕褐素描铺陈，线条松弛却精准勾勒轮廓。圣母拥着圣婴，姿态柔婉亲昵，身旁老妇温情注视，右侧老者垂首休憩，持果孩童依偎身侧，林间浅淡晕染的光影落在起伏衣褶上，将神圣叙事揉进烟火日常里。\n\n远景村落晕染朦胧，苍劲树影衬出郊野丘壑的空寂，让私密天伦融于天地间，褪去宗教肃穆，只剩寻常家眷的松弛安恬。明暗晕染柔和过渡，衣料褶皱的厚重质感，神态的细腻描摹，将静谧温情藏进每一笔排线，把圣家族拉下神坛，定格成治愈的午后片刻。",[704,705,706,707,708,148,709,7],"素描","宗教","人物画","圣家族","孩童","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee60ebb836c6d4a0bb7a6f8ad74280e.jpg",[],{"id":713,"slug":714,"title":715,"dynasty":459,"author":19,"museum":20,"description":716,"tags":717,"thumbUrl":722,"material":31,"size":32,"collection":33,"collections":723,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":86},289148,"guercino-endymion-sleeping-yi-ming-289148","Guercino--Endymion Sleeping","裸身的少年沉眠石台，将头颅枕在交叠的臂弯，蓬松发丝覆着低垂眉眼，周身松弛慵懒，全然沉湎在静谧酣梦里。\n\n淡墨勾塑轮廓，晕染铺陈开躯体柔和的明暗起伏，把肌肤温润的质感藏在虚实笔触间。远景林野朦胧虚化，弯月悬在暗夜里晕开清辉，晕染开幽谧柔婉的底色，斜倚一旁的长杖，静静暗合牧人的身份。\n\n寥寥几笔将神话里月下的缱绻凝成纸面，线条松弛舒展，把夜半梦境的安宁与温柔尽数揉入其中，浪漫又宁静。",[704,718,441,719,720,7,721],"神话人物","男性人体","沉睡","新月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7abee22eb15d00542070356a4bcb60.jpg",[],{"id":725,"slug":726,"title":727,"dynasty":459,"author":19,"museum":20,"description":728,"tags":729,"thumbUrl":734,"material":31,"size":32,"collection":33,"collections":735,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},288704,"william-trost-richards-sketchbook-of-pacific-northwest-landscape-subjects-yi-ming-288704","William Trost Richards--Sketchbook of Pacific Northwest Landscape Subjects","这幅速写以松弛排线勾勒苍劲巨木，左侧用淡晕留白晕开林间晨雾，将幽寂空濛的山野氛围铺陈开来。右侧原木小屋带着质朴烟火气，烟囱、木栏的细节描摹，让荒野拓荒的日常暖意跃然纸上。\n\n画面虚实相映，朦胧雾林与写实木屋形成巧妙反差，既刻画出古木的雄浑苍古，也以淡柔笔触晕染出林间氤氲的湿气。寥寥几笔将原始森林的清寂与人居暖意相融，仿佛能听见穿林风响，窥见避世栖居的悠然日常，简淡笔触下藏着饱满的自然诗意。",[704,661,730,731,732,148,733,7],"风景画","森林","木屋","野外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b8f93a02995a7c20dd34d22aa609a.jpg",[],{"id":737,"slug":738,"title":739,"dynasty":459,"author":19,"museum":20,"description":740,"tags":741,"thumbUrl":744,"material":31,"size":32,"collection":33,"collections":745,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},288623,"jean-baptiste-oudry-view-in-the-gardens-of-arcueil-yi-ming-288623","Jean-Baptiste Oudry--View in the Gardens of Arcueil","这幅素描以细腻排线晕染林间光影，左侧林木与围栏错落交织，繁密叶片以疏密线条铺陈层次，将幽谧的林下氛围缓缓铺展开来。蜿蜒园路顺着视线向前延伸，尽头的铁艺门扉隐在树影朦胧间，牵引出更深邃的园林意韵。画师以精细线条勾勒皴擦树干肌理，用明暗调子区分光影边界，将林荫午后松弛静谧的氛围精准定格，仿佛能让人踏入这方园林，触摸微凉的树干，呼吸草木浸润的清新空气，沉溺在郊野花园的悠然意趣之中。",[704,730,742,148,743,129,7],"园林","栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8835df83b1ef58facb2679e18f1ea0b7.jpg",[],{"id":747,"slug":748,"title":749,"dynasty":18,"author":19,"museum":20,"description":750,"tags":751,"thumbUrl":755,"material":31,"size":32,"collection":33,"collections":756,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},270601,"wang-jin-sheng-wang-chuan-tu-mo-zhu-li-guan-mo-yi-ming-270601","汪近圣辋川图墨-竹里馆墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[752,314,76,439,753,379,7,754],"墨","山鸟","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac67f2a21516200643e96dd288355f2.jpg",[],{"id":758,"slug":759,"title":760,"dynasty":18,"author":19,"museum":20,"description":761,"tags":762,"thumbUrl":769,"material":770,"size":33,"collection":33,"collections":771,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":86},215603,"tian-xia-ming-shan-tu-23-yi-ming-215603","天下名山图-23","笔墨晕染出山川灵秀风骨，峰峦叠嶂隐于烟霞缥缈间，溪涧蜿蜒绕林麓。线条苍劲古拙，墨色浓淡藏虚实相生之妙，尽显清代山水含蓄韵致。每一笔触似诉名山千年底蕴，烟岚浮动中，松涛阵阵可闻，飞瀑流泉如见。虽佚名，却以自然之笔绘就天地大美，观者于尺幅间神游万仞，心寄烟霞，沉醉于那份古朴静谧的山水诗意里，不知归处。",[45,24,94,70,47,763,689,764,566,765,766,767,768,7],"山川","烟霞","林麓","飞瀑","松涛","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6a0b9248f3d7c0896470902e898923.jpg","纸本,水墨",[],{"id":773,"slug":774,"title":775,"dynasty":18,"author":776,"museum":617,"description":777,"tags":778,"thumbUrl":784,"material":33,"size":33,"collection":33,"collections":785,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":786},201643,"qun-feng-tu-zhou-cheng-sui-201643","群峰图轴","程邃","这幅山水以焦墨为骨，峰峦层叠而上，山石用干笔皴擦，线条刚劲如铁，纹理苍古。山间林木错落，小径蜿蜒隐于岩隙，溪流穿谷而过，似有清音流淌。构图深远，意境清幽，笔墨简括却力道十足，干淡中藏雄浑之气，尽显山野的静谧与古拙之美。观者仿佛置身其间，可感林泉之趣，体悟自然与笔墨交融的妙境。",[779,70,48,780,689,73,151,129,781,782,7,783],"焦墨","干笔","苍劲","古拙","雄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e16f7b41b69ee3c5fec9527964f4a5.jpg",[],"a39c90",1777535708234]