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藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[23,26,24,53,54,134,7,55,56,135],"写意","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纸本","纵103.3厘米 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1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[287,116,288,29,117,289,170,290,291,292,293,294,295,296,297,7,298,299,300],"油画","写实","岩石","建筑","牛","天空","洞穴","围栏","草地","远山","峭壁","绿植","村庄","城堡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg","油画精选",[302],67,{"id":306,"slug":307,"title":128,"dynasty":18,"author":111,"museum":161,"description":308,"tags":309,"thumbUrl":310,"material":34,"size":311,"collection":36,"collections":312,"showCount":304,"zanCount":89,"manualWeight":11,"mainColor":42},219181,"ku-mu-zhu-shi-tu-yi-ming-219181","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石头后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的突显，属元代枯木竹石画风。画中草木与院藏赵孟俯〈竹石古木〉表现诸如，此画上虽无款印，但可估计此后一画风的古代例子，学者猜测可能正与赵孟俯关系密切。",[23,24,53,27,7,55,97,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59e40997092e7d1968961782449871.jpg","107.9x51.1",[36],{"id":314,"slug":315,"title":316,"dynasty":47,"author":229,"museum":182,"description":317,"tags":318,"thumbUrl":320,"material":321,"size":322,"collection":102,"collections":323,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":69},233749,"ku-mu-han-ya-tu-zhou-zhu-da-233749","枯木寒鸦图轴","本幅表现隆冬时节，4只落寞的寒鸦在残石败枝上栖息的情景。寒鸦的羽毛先以淡墨晕染，趁湿在淡墨上罩以浓墨，浓淡墨交融处显现出羽毛柔软、细密的质感。鸟的眼眶为一笔圈成的椭圆形，靠近上眼眶处以重墨点睛，一付“白眼向人”的神色顿现笔底。鸟儿孤傲不驯的神态最能体现作者坚韧倔强、磊落不羁的个性。",[24,25,27,53,134,7,31,319,97,78],"鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720d3f98e81536da3eba405e6c534dd7.jpg","纸本，墨笔","纵178.5厘米，横91.5厘米",[],65,{"id":326,"slug":327,"title":328,"dynasty":47,"author":329,"museum":49,"description":330,"tags":331,"thumbUrl":344,"material":102,"size":102,"collection":102,"collections":345,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":69},229005,"shi-er-yue-ling-shan-shui-ce-ye-gong-xian-229005","十二月令山水册页","龚贤","以淡墨晕染出郊野冬韵，枯木疏朗错落，枝桠褪尽繁叶，萧索间藏着山野幽居的静穆意趣。坡地以短笔皴擦，层层铺陈出浑厚质感，留白化作寒溪浅流，晕开冬日清寂。茅舍掩映在坡坳间，篱墙蜿蜒环绕，高悬的酒旗孤静无扰，不见行人踪迹，愈衬出林居的幽谧冷寂。笔墨简淡却意韵悠长，将冬日荒寒与山居恬然融作一处，淡墨轻皴间，把山野闲居的安然意绪缓缓铺展，尽显静穆淡远的林下风致。",[24,53,332,165,333,7,334,335,336,337,338,339,54,340,341,342,343],"册页","冬日","茅舍","篱墙","酒旗","寒溪","坡地","山居","幽谧","静穆","恬然","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1e413a3bcf06fadb00a852fcadfc1f.jpg",[],62,{"id":348,"slug":349,"title":350,"dynasty":196,"author":351,"museum":49,"description":352,"tags":353,"thumbUrl":358,"material":100,"size":101,"collection":102,"collections":359,"showCount":360,"zanCount":89,"manualWeight":11,"mainColor":42},287310,"ma-que-yu-chu-tu-ye-huang-quan-287310","麻雀育雏图页","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,24,28,29,354,355,7,356,357,61],"花鸟画","麻雀","育雏","温馨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1222ad8ff58aa55cef97307a7653c7f7.jpg",[],56,{"id":362,"slug":363,"title":364,"dynasty":129,"author":365,"museum":366,"description":367,"tags":368,"thumbUrl":369,"material":370,"size":371,"collection":65,"collections":372,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":42},221804,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-221804","枯木竹石图轴","李士行","上海博物馆","绘枯木一棵，两枝树杆粗壮，枝杈繁多，恣意生长；树旁巨石耸立，棱角圆润；右侧淡墨绘一棚细竹，竹叶修长秀美，生机勃勃。李士行，字遵道，元代画家，善山水，尤工竹石更妙。绢本。墨笔。 此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[23,24,25,26,27,53,7,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","绢本，水墨","170x52cm",[65,140],53,{"id":375,"slug":376,"title":364,"dynasty":129,"author":130,"museum":182,"description":377,"tags":378,"thumbUrl":379,"material":380,"size":381,"collection":102,"collections":382,"showCount":383,"zanCount":89,"manualWeight":11,"mainColor":42},233752,"ku-mu-zhu-shi-tu-zhou-wu-zhen-233752","吴镇生于元至元十七年，卒于元至十四年，终年七十五岁。吴镇长住魏塘，深居简出。吴镇于六十八岁〔至正七年（1347年）〕侨寓嘉兴春波门外(今嘉兴市城区)春波客舍，专写墨竹。时与友人会于精严寺僧舍，心仪佛门，始自称“梅沙弥”。四年后回到魏塘，殁前自选生圹，自书碑文：“梅花和尚之塔”。墓在今梅花庵侧。\n祖名吴泽，字伯常，南宋时从汴梁（河南开封）移家至嘉兴，定居浙江嘉兴魏塘(今浙江嘉善魏塘)。吴镇年少好剑术，成年后与其兄吴瑱同受业于毗陵（今江苏武进）柳天骥学习易经，自此韬光养晦，讲天人性命之学，坚持高尚志气，不与众人和同，贯通儒、道、释三教，达生知命。为人抗简孤洁，一生清贫，高自标青，隐居不仕，与达官贵人很少往来。曾在村塾中教书，钱塘等地卖卜。\n十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。\n其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n相传吴镇本与盛懋比门而居，四方以金帛求盛画者甚众，而吴之门阒然。妻子颇笑之。曰：“二十年后不复尔。”后果如其言。\n吴镇事迹收录于《画史会要》、《清河书画舫》、《六研斋笔记》、《容台集》、《仓螺集》。墨迹今存世的有《双桧平远图》轴(台湾故宫博物院藏)、《渔父图》轴（北京故宫博物院藏）、《渔父图》卷（美国佛利尔美术馆藏）、《长松图》轴（南京博物院藏）、《草书心经》卷（北京故宫博物院藏）等。其风竹刻石，陈列在嘉兴南湖烟雨楼，其八竹碑及草书《心经》碑陈列于嘉善梅花庵。又有《梅道人遗墨》2卷，系后人辑录的其诗和题跋。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。因居处有橡林，故书斋又名“橡室”。\n吴镇墓现存于梅花庵内，梅花庵是纪念吴镇的附属性建筑，在墓的东侧，明万历间为守墓而建。位于魏塘镇花园弄路西侧。明泰昌元年（1620年）邑令吴旭和邑绅钱士升筹集款修理墓道、添建祠堂三楹、亭三楹、僧舍五楹。华亭陈继儒作《修梅花庵记》，并有董其昌书“梅花庵”匾额。后邑人曾几次筹资重修。新中国成立后，吴镇墓与梅花庵，曾多次作过修缮。由浙江省人民政府公布为省重点文物保护单位。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[26,24,53,27,7,55,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63832bc58031f20afa8f53f097b5ded3.jpg","纸本 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横69.8CM",[],47,{"id":385,"slug":386,"title":180,"dynasty":129,"author":181,"museum":182,"description":387,"tags":388,"thumbUrl":389,"material":188,"size":189,"collection":102,"collections":390,"showCount":391,"zanCount":89,"manualWeight":11,"mainColor":69},233883,"ku-mu-you-huang-tu-zhou-ni-zan-233883","该图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。\n该图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民，云林生。”画幅上还有马治，松泉隐者诗题。\n画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。\n平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。\n构景简洁是倪云林画的突出特色，该图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。",[24,25,27,53,7,55,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35cbb863ee23b56d80a3506b492b05d.jpg",[],46,{"id":393,"slug":394,"title":395,"dynasty":18,"author":396,"museum":397,"description":398,"tags":399,"thumbUrl":400,"material":137,"size":401,"collection":102,"collections":402,"showCount":403,"zanCount":11,"manualWeight":11,"mainColor":42},221606,"ku-mu-tu-liang-kai-221606","枯木图","梁楷","日本京都国立博物馆","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,24,53,115,7,97,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6ccf2251cdf9d1af34e70cbbab5720.jpg","24.1×23cm",[],41,{"id":405,"slug":406,"title":407,"dynasty":47,"author":229,"museum":49,"description":408,"tags":409,"thumbUrl":411,"material":100,"size":101,"collection":102,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":69},235504,"za-hua-ce-zhu-da-235504","杂画册","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,25,410,53,134,78,82,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4fbc6f21704ae7e6f82c0ab3700c6d.jpg",[],39,{"id":415,"slug":416,"title":417,"dynasty":129,"author":181,"museum":49,"description":418,"tags":419,"thumbUrl":423,"material":100,"size":101,"collection":102,"collections":424,"showCount":425,"zanCount":89,"manualWeight":11,"mainColor":69},290839,"wan-he-qiu-ting-zhou-ni-zan-290839","万壑秋亭轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[26,24,25,27,53,54,57,420,7,120,421,59,61,422],"亭","溪流","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c7a50eb639fedf1d8803cb1242ca91.jpg",[],32,{"id":427,"slug":428,"title":429,"dynasty":18,"author":160,"museum":49,"description":430,"tags":431,"thumbUrl":433,"material":100,"size":101,"collection":102,"collections":434,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":42},291007,"gu-song-tu-guo-xi-291007","古松图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[24,26,27,53,54,432,98,7,61],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d8920ad7268cf0fee7850c0890f75.jpg",[],31,{"id":437,"slug":438,"title":439,"dynasty":47,"author":440,"museum":182,"description":441,"tags":442,"thumbUrl":448,"material":102,"size":102,"collection":174,"collections":449,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":69},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[24,25,27,53,54,57,120,170,117,290,443,444,7,445,446,447],"山路","行旅","小屋","悬崖","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[174,65],{"id":451,"slug":452,"title":453,"dynasty":47,"author":454,"museum":161,"description":455,"tags":456,"thumbUrl":458,"material":459,"size":460,"collection":102,"collections":461,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":69},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。",[23,24,25,27,53,54,57,170,7,120,272,420,296,457,61],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","白纸本","纵83cm,横41.2cm",[],{"id":463,"slug":464,"title":465,"dynasty":129,"author":466,"museum":161,"description":467,"tags":468,"thumbUrl":472,"material":34,"size":473,"collection":102,"collections":474,"showCount":475,"zanCount":89,"manualWeight":11,"mainColor":69},290256,"yan-lan-qiu-jian-tu-zhu-de-run-290256","烟岚秋涧图","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”。",[26,24,27,53,57,98,120,272,469,422,7,470,471],"烟岚","瀑布","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9766931c05722889a90dd2c2c96c59.jpg","102.6x44.3",[],30,{"id":477,"slug":478,"title":479,"dynasty":480,"author":481,"museum":482,"description":483,"tags":484,"thumbUrl":486,"material":102,"size":102,"collection":102,"collections":487,"showCount":475,"zanCount":11,"manualWeight":11,"mainColor":69},220550,"ling-jiu-xu-bei-hong-220550","灵鹫","民国","徐悲鸿","中央美术学院美术馆","两只鹫鸟傲然立于枯木之上，昂首远眺，目光锐利沉静，尽显悍勇孤傲之姿。\n画家以兼工带写之法，以浓淡墨色区分鹫鸟羽毛层次，蓬松绒羽以淡墨晕染出柔软质感，硬翅翎毛则以焦墨勾勒，笔力苍劲，将猛禽的健硕体态刻画入微。古木以阔笔重墨挥写，尽显苍浑朴拙的山野意趣，枝桠间点缀嫩黄小花，柔色打破沉郁色调，动静相映。\n画作融西画写实观察与东方写意笔墨，既还原猛禽生理细节，又以写意笔墨烘托出桀骜沉凝的气度，于沉静画面中蕴藏着雄健生命力。",[24,53,29,134,78,31,7,485,296],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf44f3188b1be369b8514aa6b92a3f4.jpg",[],{"id":489,"slug":490,"title":491,"dynasty":129,"author":181,"museum":49,"description":418,"tags":492,"thumbUrl":493,"material":100,"size":101,"collection":102,"collections":494,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":42},290266,"xiao-shan-shu-lin-tu-ke-luo-ban-ni-zan-290266","小山疏林图（珂罗版）",[23,24,26,25,53,57,98,97,420,61,59,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6068a25a99e08d7d93bc7a1734380a3c.jpg",[],29,{"id":497,"slug":498,"title":499,"dynasty":240,"author":500,"museum":49,"description":501,"tags":502,"thumbUrl":506,"material":100,"size":101,"collection":174,"collections":507,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":69},287451,"mo-gu-ce-ye-chen-hong-shou-287451","摹古册页","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,332,53,57,270,503,7,61,59,504,54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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[26,24,57,572,573,27,54,120,7,524,208,53],"雪景","界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa073fbe6026acf7b071e27be9e2b4dd.jpg",[],19,{"id":578,"slug":579,"title":580,"dynasty":47,"author":111,"museum":182,"description":581,"tags":582,"thumbUrl":590,"material":591,"size":592,"collection":39,"collections":593,"showCount":594,"zanCount":11,"manualWeight":11,"mainColor":69},239528,"hong-li-ji-lu-tu-xiang-zhou-yi-ming-239528","弘历击鹿图像轴","秋林谷壑间秋意铺陈，丹叶杂着枯木，晕染出疏朗温润的郊野氛围。锦鞍纹饰细致的骏马静立坡侧，侍从持鞭席地而坐，神色安然。右下角麋鹿惊觉抬首，似将疾走而去，瞬间打破林间宁寂，暗藏狩猎将启的张力。\n\n此作未绘主角，却以侍从、鞍马衬出狩猎的氛围感，静中藏动，笔触工细入微，枝叶、坡石层次分明，设色雅致柔和，将郊野秋狩的闲雅与机巧相融，尽得纪实绘事的含蓄意趣。",[26,24,27,28,29,117,166,583,584,585,586,7,587,588,589],"鹿","郊野","秋林","狩猎","坡石","闲雅","静中藏动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc877bf2a729dcbf25c434ed1db163c5.jpg","纸本，设色","纵259cm; 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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,25,410,53,7,55,56,60,61,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc50ab9dbf9106f927ff8c2fe9707414.jpg",[36],{"id":740,"slug":741,"title":742,"dynasty":129,"author":111,"museum":49,"description":712,"tags":743,"thumbUrl":747,"material":100,"size":101,"collection":102,"collections":748,"showCount":749,"zanCount":11,"manualWeight":11,"mainColor":42},287760,"dong-ya-tu-mu-tu-yi-ming-287760","冬鸦秃木图",[24,53,744,7,31,57,745,746],"冬景","荒郊","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bed51ad511447d3f429b3f77844600c.jpg",[],9,{"id":751,"slug":752,"title":753,"dynasty":47,"author":754,"museum":49,"description":755,"tags":756,"thumbUrl":766,"material":102,"size":102,"collection":102,"collections":767,"showCount":749,"zanCount":11,"manualWeight":11,"mainColor":69},235777,"qing-chu-liu-da-jia-ji-ce-she-se-shan-shui-ye-wang-hui-235777","清初六大家集册-设色山水页","王翚","此作以淡设色晕染出郊野冬末的闲静图景。近处村居错落，枯木虬枝苍劲秀逸，行人缓行、归牛徐步，将乡居日常的松弛意趣藏在萧疏林木间。远景汀洲浅渚横陈，留白铺就空濛水色，淡墨晕出山峦轮廓，晕染出水天相融的清旷悠远。\n\n笔墨秀雅温润，枯笔写寒林兼具苍劲与灵秀，布景疏密相宜，师法宋元山水的悠远意境，又揉进清逸文人意趣，将质朴村居晕染出安恬诗意，把晚冬将醒的温软氛围藏在尺幅间，尽显幽宁淡远的田园雅韵，让观者沉浸在松弛舒缓的乡野意趣里。",[24,29,57,410,7,757,291,758,759,760,761,762,763,764,765],"村居","行人","山峦","汀洲","枯笔","田园","乡野","幽宁淡远","松弛意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbcd207b115ac6aba7c462930f45e56.jpg",[],{"id":769,"slug":770,"title":771,"dynasty":18,"author":111,"museum":49,"description":772,"tags":773,"thumbUrl":775,"material":100,"size":101,"collection":102,"collections":776,"showCount":777,"zanCount":11,"manualWeight":11,"mainColor":778},289972,"gu-mu-han-qin-tu-yi-ming-289972","古木寒禽图","此作用淡墨晕染寒林雪滩，枯木虬曲苍劲，疏枝横斜于荒寂寒林之中。山石积雪以留白衬出，淡墨轻勾棱线，尽显冰雪凝覆之态，古木皴擦老辣，满是风霜浸蚀的苍拙质感。\n整幅画面空阔萧索，不见禽鸟却遍溢孤寒冷寂之意，以极简笔致烘托出冬日林野的清空淡远，将格物精微的写生意趣与幽寂荒寒的意境相融，寥寥数笔勾勒出冬林孤冷的林下雅趣，尽显山水小品的隽永雅致。",[23,26,24,25,714,53,57,7,31,97,572,774,59,61],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c8d1663817686fd51de4dc7abe3ef7.jpg",[],8,"F48FB1",{"id":780,"slug":781,"title":782,"dynasty":47,"author":783,"museum":49,"description":784,"tags":785,"thumbUrl":786,"material":102,"size":102,"collection":102,"collections":787,"showCount":777,"zanCount":11,"manualWeight":11,"mainColor":69},234374,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234374","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 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