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创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,53,26,56,27,55,77,78,33,79,7,31],"楼阁","小桥","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","绢本","纵111.4厘米，横56厘米","宋画精选",[83,85,86],"山水画精选","水墨画精选",792,9,"795548",{"id":91,"slug":92,"title":93,"dynasty":18,"author":94,"museum":95,"description":96,"tags":97,"thumbUrl":102,"material":103,"size":104,"collection":85,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":89},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","沈周","南京博物院","沈周（1427—1509），字启南，号石田，自称白石翁，江苏苏州人。山水少承家法，凡宋元名手，皆能变化出入，而独于董源、巨然、李成尤得心印。中年以黄公望为宗，晚乃醉心吴镇、倪瓒。四十以前画盈尺小景，四十后始拓为大幅。其画以水墨山水为艺林绝品，浅绛者次之，其大设色者尤妙，但存世稀少。人物、花鸟，无一不入神品。本幅即为仿倪之作，笔法遒劲，风格萧疏。",[24,54,55,56,27,98,99,26,100,101,31,32,33,7],"书法","印章","树","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","绢本,水墨","纵116.6厘米 横28.8厘米",[85],708,4,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":119,"material":120,"size":121,"collection":39,"collections":122,"showCount":123,"zanCount":124,"manualWeight":11,"mainColor":125},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","五代十国","关仝","藏地不详","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[53,24,54,55,56,27,26,31,78,33,77,7,117,118],"古道","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg","未知","Xcm*Xcm",[],641,6,"37474F",{"id":127,"slug":128,"title":129,"dynasty":72,"author":130,"museum":131,"description":132,"tags":133,"thumbUrl":139,"material":140,"size":141,"collection":63,"collections":142,"showCount":123,"zanCount":124,"manualWeight":11,"mainColor":89},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","台北故宫博物院","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,53,24,54,134,56,25,101,135,136,7,137,35,138],"工笔","禽鸟","石头","雪","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","绢本,设色","26.3 x 45.7厘米",[63,83],{"id":144,"slug":145,"title":146,"dynasty":48,"author":49,"museum":131,"description":147,"tags":148,"thumbUrl":150,"material":103,"size":39,"collection":86,"collections":151,"showCount":152,"zanCount":153,"manualWeight":11,"mainColor":67},218759,"zhu-shi-tu-ni-zan-218759","竹石图","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[23,24,53,54,55,56,149,35,101,7,99],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[86],561,5,{"id":155,"slug":156,"title":157,"dynasty":72,"author":158,"museum":159,"description":160,"tags":161,"thumbUrl":163,"material":164,"size":165,"collection":83,"collections":166,"showCount":167,"zanCount":153,"manualWeight":11,"mainColor":89},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙","北京故宫博物院","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,24,53,54,162,56,27,26,35,7,31],"长卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[83,85,86],555,{"id":169,"slug":170,"title":171,"dynasty":172,"author":173,"museum":114,"description":174,"tags":175,"thumbUrl":181,"material":140,"size":39,"collection":85,"collections":182,"showCount":183,"zanCount":184,"manualWeight":11,"mainColor":89},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","唐","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,53,24,162,25,26,137,7,176,29,31,177,178,179,180],"飞鸟","河流","树木","雪景","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[85],519,8,{"id":186,"slug":187,"title":188,"dynasty":48,"author":49,"museum":131,"description":189,"tags":190,"thumbUrl":192,"material":193,"size":194,"collection":85,"collections":195,"showCount":196,"zanCount":197,"manualWeight":11,"mainColor":67},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,24,54,55,56,26,27,191,7,35,33,99],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","纸本,水墨","74.7 x 35.5cm",[85,86],518,3,{"id":199,"slug":200,"title":201,"dynasty":72,"author":73,"museum":114,"description":202,"tags":203,"thumbUrl":207,"material":120,"size":121,"collection":39,"collections":208,"showCount":209,"zanCount":107,"manualWeight":11,"mainColor":89},283686,"du-bei-ke-shi-tu-li-cheng-283686","读碑窠石图","图中残碑上应有小字二行，一书“李成画树石”，一书“王晓补人物”，但现存此图中已无此二行小字，所以一说为摹本。《读碑窠石图》为双拼绢绘制的大幅山水画，表现冬日田野上，一位骑骡的老人正停驻在一座古碑前观看碑文，近处陂陀上 生长着木叶尽脱的寒树。此画取景集中，以枯树、石碑和人物构成画面的主体，颇有荒寒冷寂的气氛。树枝以细线勾勒，再用墨染，枝干皆作“蟹爪”状，纵横交错，有苍劲之感。坡石为侧笔所绘的圆润而少有皴擦的线条构成，此为后世称之的“卷云皴”。枯树与石碑的组合，强化了幽凄惨澹的环境气氛，暗示出对遥远历史中那辉煌繁华往事的追忆。",[53,24,56,26,7,35,30,27,204,205,206],"荒寒","孤寂","读碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1d93dc2ab3cb636e2aed48546013ef.jpg",[],435,{"id":211,"slug":212,"title":213,"dynasty":48,"author":214,"museum":131,"description":215,"tags":216,"thumbUrl":218,"material":219,"size":220,"collection":85,"collections":221,"showCount":222,"zanCount":107,"manualWeight":11,"mainColor":67},220816,"qiu-shan-cao-tang-tu-zhou-wang-meng-220816","秋山草堂图轴","王蒙","1308－1385元画家。字叔明，号香光居士，湖州（今浙江吴兴）人。外祖父赵孟頫、外祖母管道升、舅父赵雍、表弟赵彦徵都是元代著名画家。王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。\n“王叔明画，从赵文敏风韵中来。……泛滥唐宋诸名家，而从董源、王维为宗，故其纵逸多姿，往往出文敏规格之外”。王蒙的画法，善变而多巧妙，喜画重山复岭之繁景，常用解索皴和焦墨点苔。所写山林树木，苍郁茂密而具有浑远的空间感。《秋山草堂图》画高山崇岭，茂树清淡，山脚草堂临水，水际荻花萧瑟堂内隐者怡然自得。表现出江南自然山川的湿润，创造出蓊郁深秀、浑厚华兹的境界。",[23,24,56,25,27,55,26,100,217,33,29,78,7,99],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f99ee1ba33b0552bd4f03b90e05f53.jpg","白纸本","123.3×54.8",[85,86],412,{"id":224,"slug":225,"title":226,"dynasty":72,"author":227,"museum":131,"description":228,"tags":229,"thumbUrl":232,"material":140,"size":233,"collection":85,"collections":234,"showCount":222,"zanCount":235,"manualWeight":11,"mainColor":89},214668,"shan-shui-tu-guo-zhong-shu-214668","山水图","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[24,53,26,176,29,34,7,28,33,230,231,25],"山峦","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[85],2,{"id":237,"slug":238,"title":239,"dynasty":72,"author":158,"museum":240,"description":241,"tags":242,"thumbUrl":243,"material":244,"size":245,"collection":83,"collections":246,"showCount":247,"zanCount":124,"manualWeight":11,"mainColor":89},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","美国大都会艺术博物馆","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[23,24,56,162,26,191,7,35,29,30,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[83,85,86],387,{"id":249,"slug":250,"title":251,"dynasty":72,"author":73,"museum":252,"description":253,"tags":254,"thumbUrl":257,"material":140,"size":258,"collection":63,"collections":259,"showCount":260,"zanCount":197,"manualWeight":11,"mainColor":89},216925,"han-ya-tu-li-cheng-216925","寒鸦图","辽宁省博物馆","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,53,24,54,162,56,27,7,28,176,255,179,26,35,99,98,256],"寒鸦","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[63],385,{"id":262,"slug":263,"title":264,"dynasty":72,"author":265,"museum":131,"description":266,"tags":267,"thumbUrl":273,"material":274,"size":275,"collection":83,"collections":276,"showCount":278,"zanCount":153,"manualWeight":11,"mainColor":89},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,24,53,54,55,134,25,268,269,270,176,7,271,272],"花鸟","兽","兔","草","土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","绢","纵193.7厘米、横103.4厘米",[83,63,277],"设色画精选",358,{"id":280,"slug":281,"title":282,"dynasty":283,"author":284,"museum":131,"description":285,"tags":286,"thumbUrl":292,"material":140,"size":293,"collection":85,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":89},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","清","佚名","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[23,24,54,53,162,287,25,27,26,178,288,289,290,291,7],"临摹","平野","芦苇","孤山","红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[85],346,{"id":297,"slug":298,"title":299,"dynasty":283,"author":300,"museum":301,"description":302,"tags":303,"thumbUrl":306,"material":307,"size":39,"collection":85,"collections":308,"showCount":309,"zanCount":310,"manualWeight":11,"mainColor":67},214378,"shan-shui-tu-ce-zhu-da-214378","山水图册","朱耷","私人收藏","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[23,24,56,304,27,99,26,31,7,305,29,32],"册","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg","纸本,设色",[85],324,1,{"id":312,"slug":313,"title":314,"dynasty":72,"author":315,"museum":316,"description":317,"tags":318,"thumbUrl":322,"material":140,"size":323,"collection":83,"collections":324,"showCount":325,"zanCount":310,"manualWeight":11,"mainColor":89},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽","大英博物馆","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,53,24,54,162,26,179,27,56,25,319,320,100,7,321,137,230],"山","石","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[83,85],315,{"id":327,"slug":328,"title":329,"dynasty":18,"author":330,"museum":131,"description":331,"tags":332,"thumbUrl":333,"material":219,"size":334,"collection":85,"collections":335,"showCount":336,"zanCount":235,"manualWeight":11,"mainColor":67},220923,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","董其昌","注意画叶也要讲究笔法，不是胡乱的点画的，要“写”出来，画的叶子要有笔力。在开始画的时候，先浅墨而后蘸取浓墨在笔尖，由内到外，还需要有位置经营概念，去写画出来。",[23,24,56,287,55,26,100,31,33,30,99,27,7,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","87.4x65",[85,86],311,{"id":338,"slug":339,"title":340,"dynasty":283,"author":300,"museum":114,"description":341,"tags":342,"thumbUrl":346,"material":39,"size":39,"collection":39,"collections":347,"showCount":348,"zanCount":11,"manualWeight":11,"mainColor":67},237931,"ku-cha-dun-ying-zhou-zhu-da-237931","枯槎蹲鹰轴","大片留白晕开萧索空寂的底色，枯槎以寥寥皴擦写就虬曲老态，墨点留作木疤，沉凝间尽诉岁月剥蚀的沧桑。\n\n蹲立槎头的猛禽，白眼斜睨，倨傲桀骜的神情藏着化不开的孤愤。干湿浓淡的墨色晕染羽翼，蓬松绒羽与锐厉气势相融，利爪紧扣枯木，静穆中暗蓄振翅即发的张力。\n\n整幅画以少胜多，笔墨极简却意蕴沉厚，将孤傲不屈的心绪寄于毫端，清冷禅意与嶙峋风骨跃然纸上，尽显水墨写意的极致妙趣。",[24,56,55,343,99,7,344,345,268],"写意","鹰","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6320940ea9a227340fd5d2b614e82497.jpg",[],298,{"id":350,"slug":351,"title":352,"dynasty":283,"author":300,"museum":301,"description":353,"tags":354,"thumbUrl":355,"material":193,"size":39,"collection":63,"collections":356,"showCount":357,"zanCount":310,"manualWeight":11,"mainColor":67},216365,"hua-niao-ce-zhu-da-216365","花鸟册","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,54,304,56,26,7,35,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[63],282,{"id":359,"slug":360,"title":361,"dynasty":72,"author":315,"museum":131,"description":362,"tags":363,"thumbUrl":364,"material":81,"size":365,"collection":83,"collections":366,"showCount":367,"zanCount":11,"manualWeight":11,"mainColor":89},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,53,24,54,55,27,56,26,319,137,7,77,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[83,85,86],259,{"id":369,"slug":370,"title":371,"dynasty":48,"author":372,"museum":159,"description":373,"tags":374,"thumbUrl":378,"material":61,"size":379,"collection":85,"collections":380,"showCount":381,"zanCount":11,"manualWeight":11,"mainColor":67},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","快雪时晴图","黄公望","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,24,54,162,56,26,27,98,99,319,137,7,59,375,376,377],"小屋","小径","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg","纵29.7厘米，横104.6厘米",[85,86],250,{"id":383,"slug":384,"title":385,"dynasty":18,"author":330,"museum":131,"description":386,"tags":387,"thumbUrl":390,"material":391,"size":392,"collection":85,"collections":393,"showCount":394,"zanCount":197,"manualWeight":11,"mainColor":67},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,53,24,54,55,56,27,287,388,26,178,31,32,177,57,389,7,321,118],"文人画","近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 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叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,24,54,55,56,343,345,35,7,474,99],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg","182.5×49cm",[],203,{"id":480,"slug":481,"title":482,"dynasty":112,"author":483,"museum":131,"description":484,"tags":485,"thumbUrl":487,"material":56,"size":488,"collection":85,"collections":489,"showCount":490,"zanCount":235,"manualWeight":11,"mainColor":89},218919,"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","巨然","这幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[23,24,53,55,56,27,26,178,7,59,486],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[85],201,{"id":492,"slug":493,"title":179,"dynasty":72,"author":494,"museum":131,"description":495,"tags":496,"thumbUrl":498,"material":140,"size":499,"collection":85,"collections":500,"showCount":501,"zanCount":310,"manualWeight":11,"mainColor":89},218867,"xue-jing-ma-yuan-218867","马远","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[23,24,54,25,134,26,77,30,7,137,27,497,28],"边角构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[85],192,{"id":503,"slug":504,"title":505,"dynasty":72,"author":506,"museum":240,"description":507,"tags":508,"thumbUrl":510,"material":511,"size":512,"collection":83,"collections":513,"showCount":514,"zanCount":197,"manualWeight":11,"mainColor":89},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","刘松年","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,53,54,162,134,27,56,26,137,7,31,32,177,29,509,30],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","绢本设色","纵41厘米、横241.3厘米",[83,85,277],191,{"id":516,"slug":517,"title":518,"dynasty":72,"author":158,"museum":131,"description":519,"tags":520,"thumbUrl":523,"material":140,"size":524,"collection":83,"collections":525,"showCount":526,"zanCount":235,"manualWeight":11,"mainColor":89},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,53,55,26,56,27,31,7,77,78,33,29,79,521,522],"村舍","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[83],187,{"id":528,"slug":529,"title":530,"dynasty":172,"author":173,"museum":531,"description":532,"tags":533,"thumbUrl":537,"material":61,"size":538,"collection":39,"collections":539,"showCount":540,"zanCount":310,"manualWeight":11,"mainColor":67},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","藏于日本民间","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[23,53,24,54,162,56,27,26,534,535,7,176,536],"雪山","江河","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纵31.3厘米，横207.3厘米",[],183,{"id":542,"slug":543,"title":544,"dynasty":283,"author":545,"museum":546,"description":547,"tags":548,"thumbUrl":549,"material":140,"size":550,"collection":39,"collections":551,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":89},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,54,26,25,134,27,31,7,191,77,179,178,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg","纵54厘米，横129.5厘米",[],{"id":553,"slug":554,"title":555,"dynasty":112,"author":556,"museum":131,"description":557,"tags":558,"thumbUrl":564,"material":39,"size":39,"collection":39,"collections":565,"showCount":566,"zanCount":235,"manualWeight":11,"mainColor":89},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,53,24,54,162,25,134,559,7,289,29,509,33,30,413,560,561,34,562,563],"江岸","沙洲","初雪","小船","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],179,{"id":568,"slug":569,"title":570,"dynasty":72,"author":571,"museum":50,"description":572,"tags":573,"thumbUrl":574,"material":511,"size":575,"collection":83,"collections":576,"showCount":566,"zanCount":197,"manualWeight":11,"mainColor":89},221596,"xue-shu-han-qin-tu-li-di-221596","雪树寒禽图","李迪","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[23,24,53,54,55,134,25,137,7,345,474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","纵115.7厘米，纵52.8厘米",[83,63,277],{"id":578,"slug":579,"title":580,"dynasty":72,"author":581,"museum":582,"description":583,"tags":584,"thumbUrl":586,"material":140,"size":587,"collection":85,"collections":588,"showCount":589,"zanCount":310,"manualWeight":11,"mainColor":89},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","美国弗利尔美术馆","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[24,53,55,56,27,26,78,585,30,7,321,31,117],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b7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红谷子。据传，这幅画是在一座古墓中出土的，西方一些艺术史学家认为这是荆浩的作品，而另一些人则认为这是一幅早期山水画的摹本。",[24,26,27,56,179,319,59,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[85],169,{"id":625,"slug":626,"title":627,"dynasty":18,"author":628,"museum":159,"description":629,"tags":630,"thumbUrl":632,"material":140,"size":633,"collection":634,"collections":635,"showCount":636,"zanCount":235,"manualWeight":11,"mainColor":89},215041,"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","陈洪绶","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[23,24,53,54,55,134,25,30,7,35,28,631],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5","人物画精选",[634],165,{"id":638,"slug":639,"title":640,"dynasty":72,"author":641,"museum":159,"description":642,"tags":643,"thumbUrl":645,"material":646,"size":647,"collection":83,"collections":648,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":89},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","夏圭","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,54,56,25,27,26,137,644,29,7,31,177,178],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纸本设色","纵28.2厘米，横29.5厘米",[83,85,86],160,{"id":651,"slug":652,"title":653,"dynasty":48,"author":49,"museum":50,"description":654,"tags":655,"thumbUrl":656,"material":193,"size":657,"collection":63,"collections":658,"showCount":659,"zanCount":11,"manualWeight":11,"mainColor":67},219890,"qi-shu-qiu-feng-tu-ni-zan-219890","琪树秋风图","以淡墨侧锋皴出坡上乔柯拳石，浓墨写细竹三五茎，苍古之中饶有秀润之气。倪瓒的作品，被时人称为“殊无市朝尘埃气”。画面总是平远小景，疏疏落落，悄无人影，枝头无绿叶，仅有萧疏瘦硬的干枝，具清冷、寂寞、淡然之意。与其说他表现的是景色，莫如说是心情的写照。",[24,56,7,474,35,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb4cceff0554e3c0f7b5a3c8e2d7ab.jpg","纵62厘米，横43.3厘米",[63],159,{"id":661,"slug":662,"title":663,"dynasty":283,"author":664,"museum":301,"description":665,"tags":666,"thumbUrl":668,"material":307,"size":39,"collection":85,"collections":669,"showCount":670,"zanCount":11,"manualWeight":11,"mainColor":89},214603,"fang-gu-shan-shui-ce-wang-hui-214603","仿古山水册","王翚","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,56,27,667,26,319,486,100,7,608,79,59,77,304],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[85],155,{"id":672,"slug":673,"title":674,"dynasty":72,"author":494,"museum":159,"description":675,"tags":676,"thumbUrl":679,"material":455,"size":680,"collection":39,"collections":681,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":89},233880,"ta-ge-tu-zhou-ma-yuan-233880","踏歌图轴","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[24,53,55,56,25,26,31,178,7,677,30,77,403,33,27,678],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg","纵192.5厘米，横111厘米",[],151,{"id":684,"slug":685,"title":686,"dynasty":112,"author":687,"museum":131,"description":688,"tags":689,"thumbUrl":690,"material":274,"size":691,"collection":63,"collections":692,"showCount":682,"zanCount":235,"manualWeight":11,"mainColor":125},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","黄居寀","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,53,24,134,25,268,176,7,35,474,271,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[63,277],{"id":694,"slug":695,"title":696,"dynasty":283,"author":697,"museum":114,"description":698,"tags":699,"thumbUrl":700,"material":120,"size":121,"collection":39,"collections":701,"showCount":702,"zanCount":310,"manualWeight":11,"mainColor":67},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[53,24,55,56,26,7,191,33,31,57,287,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],150,{"id":704,"slug":705,"title":706,"dynasty":72,"author":494,"museum":114,"description":707,"tags":708,"thumbUrl":714,"material":120,"size":121,"collection":39,"collections":715,"showCount":702,"zanCount":310,"manualWeight":11,"mainColor":89},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","西园雅集图","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。",[23,53,24,162,56,30,26,321,7,79,31,77,78,33,709,710,711,712,713],"竹丛","舟船","马匹","文人雅集","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],{"id":717,"slug":718,"title":719,"dynasty":48,"author":49,"museum":114,"description":720,"tags":721,"thumbUrl":722,"material":120,"size":121,"collection":39,"collections":723,"showCount":724,"zanCount":107,"manualWeight":11,"mainColor":67},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,53,24,55,56,26,7,35,33,98,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],144,{"id":726,"slug":727,"title":728,"dynasty":283,"author":300,"museum":159,"description":729,"tags":730,"thumbUrl":732,"material":733,"size":734,"collection":85,"collections":735,"showCount":736,"zanCount":310,"manualWeight":11,"mainColor":67},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[24,55,56,343,27,26,7,177,31,29,731,57,58],"钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纸本，墨笔","纵197.5厘米，横57.3厘米",[85],143,{"id":738,"slug":739,"title":740,"dynasty":48,"author":372,"museum":159,"description":741,"tags":742,"thumbUrl":744,"material":733,"size":745,"collection":85,"collections":746,"showCount":736,"zanCount":310,"manualWeight":11,"mainColor":89},220763,"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[23,24,26,56,27,55,743,137,177,59,7,231,179],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纵117厘米，横55.5厘米",[85,86],{"id":748,"slug":749,"title":750,"dynasty":72,"author":494,"museum":131,"description":751,"tags":752,"thumbUrl":754,"material":56,"size":755,"collection":86,"collections":756,"showCount":757,"zanCount":11,"manualWeight":11,"mainColor":89},219305,"xue-jing-tu-ma-yuan-219305","雪景图","寒江凝碧，积雪封峦。斧劈皴笔力劲挺，岩骨嶙峋间覆雪如素缟，勾勒出山川冷峻骨相。山间屋舍隐于松竹，窗棂似映暖光，与屋外冰清玉洁相映成趣。枯树虬枝盘结，苍松傲立雪中，墨色浓淡间藏生机。远处小径偶有人影，江畔一舟独泊，孤影横斜，更添天地清寂。边角取景拓深意境，雪景素净与笔墨苍劲交融，绘尽寒冬凛冽，又藏文人幽居雅韵，冷寂中透着温润生机，尽显山水之魂。",[24,54,56,27,55,26,179,32,178,59,29,7,57,753],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc179aedb48ce076562be32fe7e077397.jpg","163.3x82.4厘米",[86],142,{"id":759,"slug":760,"title":761,"dynasty":48,"author":49,"museum":131,"description":762,"tags":763,"thumbUrl":767,"material":193,"size":121,"collection":39,"collections":768,"showCount":769,"zanCount":310,"manualWeight":11,"mainColor":67},290956,"jiang-an-wang-shan-tu-ni-zan-290956","江岸望山图","由画上题诗，知为赠行而作，受赠者由水路去会稽，因而画舟中望两岸之景。款上称“并写江岸望山图奉送惟允友契之会稽”，惟允为陈汝言之字，但“惟允”二字，与其他题诗之字比较起来，笔迹不似，疑系后人妄改，藉以增加此画之身价。\n倪氏早年从董巨入手，五十几岁时，山石全用披麻长皴；至六十岁则渐入荆关，笔简气壮。晚年则是明显的折带皴法，呈现静穆萧疏的风格。该幅画高树空亭，隔岸望山，山上长皴，未成折带，利用苔点﹑深浅皴法及留白的运用，将山石立体实感呈现而出，气势雄壮，与其晚年渴笔皴擦之冷峻坚实的山石较不同。清吴升曾评此画：“皴法全用大披麻，得巨然神髓。迂翁画大抵平远山峰，不多作树；似此高崖峭壁，具太华削成之势；大小树点叶纷披，都非向来面目，乃知此翁绘妙中扫空蹊径，有如许大手笔也。”",[24,56,26,191,7,31,559,98,99,764,765,766],"清寂","江景","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae1ca51152d8dd2051b65e995e59abd.jpg",[],140,{"id":771,"slug":772,"title":773,"dynasty":72,"author":774,"museum":159,"description":775,"tags":776,"thumbUrl":778,"material":455,"size":779,"collection":83,"collections":780,"showCount":781,"zanCount":235,"manualWeight":11,"mainColor":67},221420,"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","王诜","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[23,24,56,777,26,29,31,33,30,7,25],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","24.8 x 28.1 CM",[83,85,86],137,{"id":783,"slug":784,"title":785,"dynasty":283,"author":786,"museum":159,"description":787,"tags":788,"thumbUrl":791,"material":307,"size":792,"collection":277,"collections":793,"showCount":781,"zanCount":235,"manualWeight":11,"mainColor":67},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,53,24,54,55,25,134,56,789,790,7,136,271,486],"猫","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 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tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,162,812,24,54,813,25,26,30,77,29,176,33,814,7,31,815,712,99,98],"缂丝","青绿","亭榭","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":820,"slug":821,"title":822,"dynasty":72,"author":158,"museum":131,"description":823,"tags":824,"thumbUrl":826,"material":274,"size":827,"collection":83,"collections":828,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":89},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,24,825,55,27,56,26,137,29,78,7,32,31,33],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","194.3×111.1",[83,85,86],{"id":830,"slug":831,"title":832,"dynasty":72,"author":494,"museum":316,"description":833,"tags":834,"thumbUrl":838,"material":140,"size":39,"collection":83,"collections":839,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":89},219737,"yan-ai-qiu-she-tu-ma-yuan-219737","烟霭秋涉图","此作用笔简劲老辣，以半边取景铺陈秋山之境。远景峰林隐没在烟霭之中，淡墨晕染出空濛虚渺，似将秋意揉进雾色里。近岸古木盘曲，枯干如铁铸，枝头缀着丹红秋叶，为萧飒秋景添了一抹暖色。浅滩处旅人策杖徐行，缓步涉过清浅溪涧，将山野行旅的幽寂之意藏于细节。\n山石以斧劈皴扫出棱线，硬朗峭拔，和远景的朦胧柔润形成强烈虚实对比，以少胜多，留白处尽是山野空寂的秋意，把深秋山涧的清旷冷冽，尽数融在水墨浓淡之间，尽显秋山烟水的澹远诗意。",[23,835,24,54,55,56,25,26,7,836,403,59,27,837,486],"宋画","烟霭","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187656824905620f997701fcc165e4fd.jpg",[83,85],{"id":841,"slug":842,"title":843,"dynasty":72,"author":844,"museum":845,"description":846,"tags":847,"thumbUrl":850,"material":193,"size":851,"collection":634,"collections":852,"showCount":853,"zanCount":310,"manualWeight":11,"mainColor":89},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","牧溪","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[24,54,56,149,848,30,849,269,7,26,79,99],"宗教","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[634],134,{"id":855,"slug":856,"title":857,"dynasty":283,"author":858,"museum":316,"description":859,"tags":860,"thumbUrl":862,"material":307,"size":863,"collection":39,"collections":864,"showCount":865,"zanCount":235,"manualWeight":11,"mainColor":67},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6","石涛","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,56,27,304,26,77,100,31,32,57,403,536,7,815,861],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg","20.3x27.5cm",[],133,{"id":867,"slug":868,"title":869,"dynasty":283,"author":870,"museum":159,"description":871,"tags":872,"thumbUrl":875,"material":455,"size":876,"collection":85,"collections":877,"showCount":878,"zanCount":310,"manualWeight":11,"mainColor":67},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","郎世宁","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[873,24,53,54,25,134,30,26,585,849,269,321,7,59,874],"清代","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[85,277],131,{"id":880,"slug":881,"title":882,"dynasty":883,"author":884,"museum":885,"description":886,"tags":887,"thumbUrl":888,"material":61,"size":39,"collection":39,"collections":889,"showCount":878,"zanCount":11,"manualWeight":11,"mainColor":67},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","民国","傅抱石","龙美术馆西岸馆","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[23,24,56,25,27,55,99,256,26,30,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":891,"slug":892,"title":893,"dynasty":72,"author":894,"museum":895,"description":896,"tags":897,"thumbUrl":899,"material":140,"size":900,"collection":83,"collections":901,"showCount":902,"zanCount":310,"manualWeight":11,"mainColor":67},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰","耶鲁大学艺术博物馆","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。",[24,25,26,27,7,176,78,33,898,34],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[83],126,{"id":904,"slug":905,"title":906,"dynasty":283,"author":907,"museum":316,"description":908,"tags":909,"thumbUrl":911,"material":307,"size":912,"collection":85,"collections":913,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":67},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡残","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[23,24,54,26,56,27,7,29,33,230,800,403,178,910,177,31,99],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[85],{"id":915,"slug":916,"title":917,"dynasty":72,"author":918,"museum":582,"description":919,"tags":920,"thumbUrl":923,"material":140,"size":924,"collection":83,"collections":925,"showCount":926,"zanCount":11,"manualWeight":11,"mainColor":89},218629,"pan-che-tu-jiang-can-218629","盘车图","江参","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[24,53,54,25,27,26,31,7,28,117,921,922,30,176],"车","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","30x24",[83],124,{"id":928,"slug":929,"title":930,"dynasty":72,"author":158,"museum":931,"description":932,"tags":933,"thumbUrl":936,"material":140,"size":937,"collection":85,"collections":938,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":89},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,53,55,27,56,25,26,319,137,7,375,29,30,585,320,100,934,79,935],"船","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[85],121,{"id":941,"slug":942,"title":943,"dynasty":18,"author":94,"museum":50,"description":944,"tags":945,"thumbUrl":948,"material":193,"size":949,"collection":85,"collections":950,"showCount":951,"zanCount":310,"manualWeight":11,"mainColor":67},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,54,162,56,27,26,946,947,31,178,191,33,29,32,7,78],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[85],120,{"id":953,"slug":954,"title":955,"dynasty":283,"author":956,"museum":240,"description":957,"tags":958,"thumbUrl":959,"material":307,"size":960,"collection":39,"collections":961,"showCount":951,"zanCount":310,"manualWeight":11,"mainColor":67},216257,"jing-fu-si-qi-dong-jing-tu-3-qian-wei-cheng-216257","景敷四气冬景图-3","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n洞口飞泉一道斜，是谁泛泛小舟拿。藤萝石上依然在，只欠洲前芦荻花。钤印：古香、太宝",[24,54,26,304,27,25,319,486,7,191,59,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a2cf71eecc41ef3e7946ed6d498677.jpg","21.9 × 30.2cm",[],{"id":963,"slug":964,"title":965,"dynasty":172,"author":284,"museum":131,"description":966,"tags":967,"thumbUrl":969,"material":140,"size":970,"collection":85,"collections":971,"showCount":972,"zanCount":235,"manualWeight":11,"mainColor":89},220432,"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[23,24,55,25,26,27,179,319,7,32,31,968],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[85,277],119,{"id":974,"slug":975,"title":976,"dynasty":72,"author":977,"museum":978,"description":979,"tags":980,"thumbUrl":984,"material":193,"size":985,"collection":85,"collections":986,"showCount":972,"zanCount":310,"manualWeight":11,"mainColor":67},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","赵佶","日本大阪市立美术馆","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[23,24,54,55,56,27,26,31,403,7,57,413,981,982,766,983],"峰峦","雾气","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[85,83],{"id":988,"slug":989,"title":990,"dynasty":283,"author":991,"museum":301,"description":992,"tags":993,"thumbUrl":994,"material":193,"size":39,"collection":85,"collections":995,"showCount":972,"zanCount":11,"manualWeight":11,"mainColor":67},214517,"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[304,56,256,98,26,7,31,138,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[85,86],{"id":997,"slug":998,"title":999,"dynasty":72,"author":494,"museum":131,"description":1000,"tags":1001,"thumbUrl":1003,"material":1004,"size":1005,"collection":83,"collections":1006,"showCount":1007,"zanCount":235,"manualWeight":11,"mainColor":89},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[23,24,53,54,56,25,27,30,1002,534,7,31,874,179],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[83,85,86],118,{"id":1009,"slug":1010,"title":1011,"dynasty":48,"author":49,"museum":114,"description":1012,"tags":1013,"thumbUrl":1014,"material":120,"size":121,"collection":39,"collections":1015,"showCount":1016,"zanCount":310,"manualWeight":11,"mainColor":67},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","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》。",[53,24,56,55,26,7,35,375,99,98,764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":1018,"slug":1019,"title":1020,"dynasty":72,"author":1021,"museum":582,"description":1022,"tags":1023,"thumbUrl":1024,"material":140,"size":1025,"collection":85,"collections":1026,"showCount":1027,"zanCount":235,"manualWeight":11,"mainColor":67},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","梁楷","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[53,24,54,56,27,25,26,534,30,585,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[85],116,{"id":1029,"slug":1030,"title":1031,"dynasty":72,"author":894,"museum":131,"description":1032,"tags":1033,"thumbUrl":1034,"material":25,"size":1035,"collection":83,"collections":1036,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":67},221227,"hu-xiang-xue-bu-tu-juan-zhao-ling-rang-221227","湖乡雪捕图卷","此作用淡墨晕染出江南雪后的萧寒清寂，以留白衬出遍野积雪，坡岸沙洲覆着薄雪，汀渚逶迤向远，尽显平远小景的幽旷淡荡。\n枯木虬枝错落，竹丛清劲挺拔，林间茅舍隐现，不见村人渔事，只留空寂的雪色天地。笔法温婉秀雅，淡墨轻勾慢染，不着浓艳重彩，将冬日湖乡的静谧空濛晕染开来，不取雄奇壮阔之景，只以细碎小景铺就幽寂诗意，把江南雪后的雅致清寒娓娓铺展，尽显淡远萧散的文人逸趣，是小景山水里的绝佳逸品。",[23,53,24,162,56,25,26,179,7,474,31,180,27,968,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a702fe2585679e8059dde2bea057470.jpg","25.9x161.7",[83,85,86],115,{"id":1039,"slug":1040,"title":1041,"dynasty":72,"author":1021,"museum":1042,"description":1043,"tags":1044,"thumbUrl":1046,"material":193,"size":1047,"collection":86,"collections":1048,"showCount":1037,"zanCount":310,"manualWeight":11,"mainColor":67},219188,"liu-zu-si-jing-tu-liang-kai-219188","六祖撕经图","三井纪念美术馆","画面上六祖慧能大师手拿撕坏的佛经， 疾步狂呼，张着脖子歇斯底里的模样。 画家把六祖藐视宗教旧传统时这种玩世不恭的狂态，用干枯的焦墨勾线表现得淋漓尽致。画面笔触方折细劲，僧衣用线简括削劲，松针、树枝用笔爽利干净，眉眼五官和经卷则以淡墨略作勾画，六祖慧能撕经时狂颠和玩世不恭的神态已跃然纸上。",[23,24,54,53,55,56,1045,30,7,848],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8195d6c6a142b8cfd17fc7dbb04a9365.jpg","70x30.3厘米",[86],{"id":1050,"slug":1051,"title":1052,"dynasty":48,"author":1053,"museum":159,"description":1054,"tags":1055,"thumbUrl":1065,"material":733,"size":1066,"collection":85,"collections":1067,"showCount":1068,"zanCount":197,"manualWeight":11,"mainColor":67},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,54,162,56,27,99,26,100,28,29,1056,31,58,1057,30,1058,1059,800,138,1060,321,7,1061,910,1062,1063,1064],"梅","渔船","远岫","岸","花","岸滩","山间","草木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[85,86],111,{"id":1070,"slug":1071,"title":1072,"dynasty":72,"author":284,"museum":131,"description":1073,"tags":1074,"thumbUrl":1075,"material":140,"size":1076,"collection":83,"collections":1077,"showCount":1068,"zanCount":310,"manualWeight":11,"mainColor":67},218814,"shan-ju-tu-yi-ming-218814","山居图","这幅画描绘了一个僻静的山间小屋，村子里的一家人正在享受着秋冬季节树上落下的叶子。这幅画表现的是山中民居的一角，没有任何细致的景物，但笔触轻盈，缺乏宋代的气氛。",[23,24,56,26,27,7,319,486,231,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2924421e597798386d1aab5272a02a28.jpg","25.1x26.4",[83],{"id":1079,"slug":1080,"title":314,"dynasty":72,"author":158,"museum":131,"description":1081,"tags":1082,"thumbUrl":1084,"material":103,"size":1085,"collection":83,"collections":1086,"showCount":1087,"zanCount":11,"manualWeight":11,"mainColor":89},288542,"xue-jing-shan-shui-tu-guo-xi-288542","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。",[23,53,24,26,56,179,78,33,29,77,7,31,1083,27],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[83],108,{"id":1089,"slug":1090,"title":1091,"dynasty":72,"author":158,"museum":131,"description":1092,"tags":1093,"thumbUrl":1096,"material":81,"size":1097,"collection":83,"collections":1098,"showCount":1099,"zanCount":310,"manualWeight":11,"mainColor":89},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,54,162,26,27,56,230,178,7,78,33,29,1094,1095,57,753,32],"行旅","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[83,85,86],107,{"id":1101,"slug":1102,"title":1020,"dynasty":72,"author":506,"museum":1103,"description":1104,"tags":1105,"thumbUrl":1106,"material":511,"size":1107,"collection":83,"collections":1108,"showCount":1109,"zanCount":11,"manualWeight":11,"mainColor":89},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","四川省博物馆","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,53,54,55,56,25,26,534,31,7,78,33,117,27,134,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[83,85],106,{"id":1111,"slug":1112,"title":1113,"dynasty":18,"author":1114,"museum":1115,"description":1116,"tags":1117,"thumbUrl":1123,"material":307,"size":1124,"collection":85,"collections":1125,"showCount":1109,"zanCount":310,"manualWeight":11,"mainColor":67},220376,"han-lin-fei-xue-tu-wen-zheng-ming-220376","寒林飞雪图","文徵明","印第安纳波利斯艺术博物馆","此图是画唐代诗人许浑”舟横野渡寒风急，门掩深山夜雪深“的诗意，而用李营丘笔意，深得寒江寂寂，雪峰无言之境。",[23,24,56,825,413,1118,1119,1120,1121,29,1122,77,7,191,205],"飞雪","雪峰","深山","野渡","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7247001349454a60fdcd1b8936e7b822.jpg","101.1x46.5厘米",[85,86],{"id":1127,"slug":1128,"title":1129,"dynasty":72,"author":494,"museum":131,"description":1130,"tags":1131,"thumbUrl":1137,"material":1138,"size":1139,"collection":83,"collections":1140,"showCount":1141,"zanCount":11,"manualWeight":11,"mainColor":89},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,53,24,54,55,56,25,27,26,898,1132,1133,321,7,30,1134,59,1135,1136],"寒岩","积雪","轩","湖面","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[83,85,86],104,{"id":1143,"slug":1144,"title":1145,"dynasty":283,"author":858,"museum":114,"description":1146,"tags":1147,"thumbUrl":1148,"material":120,"size":121,"collection":39,"collections":1149,"showCount":1150,"zanCount":310,"manualWeight":11,"mainColor":67},287452,"yi-jin-ling-ce-shi-tao-287452","忆金陵册","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,304,56,98,99,27,26,7,800,31,898,1083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],103,{"id":1152,"slug":1153,"title":1154,"dynasty":48,"author":49,"museum":240,"description":1155,"tags":1156,"thumbUrl":1158,"material":81,"size":1159,"collection":85,"collections":1160,"showCount":1150,"zanCount":11,"manualWeight":11,"mainColor":67},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374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，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[23,24,54,55,56,825,27,7,28,35,26,57,1157],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[85,86],{"id":1162,"slug":1163,"title":1164,"dynasty":72,"author":494,"museum":131,"description":1165,"tags":1166,"thumbUrl":1167,"material":140,"size":1168,"collection":85,"collections":1169,"showCount":1170,"zanCount":197,"manualWeight":11,"mainColor":89},218689,"tan-mei-tu-ma-yuan-218689","探梅图","这幅大画来自张大千的旧藏，丝绸已经破损，但仔细观察笔触，它是由明代浙江画派的画家所作。",[23,24,56,27,55,26,1056,30,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdfc40fea4f0be200f77555498f468f.jpg","192x99.6",[85],100,{"id":1172,"slug":1173,"title":1174,"dynasty":283,"author":1175,"museum":20,"description":1176,"tags":1177,"thumbUrl":1178,"material":307,"size":1179,"collection":85,"collections":1180,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":67},219995,"shan-shui-hua-bing-wu-chun-ri-hua-wang-shi-min-219995","山水画-丙午春日画","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,54,53,56,27,26,31,230,178,7,1133,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76b263723822de7104c5bf39a22e450.jpg","22.5x27.5",[85],99,{"id":1183,"slug":1184,"title":1185,"dynasty":72,"author":73,"museum":114,"description":1186,"tags":1187,"thumbUrl":1188,"material":120,"size":121,"collection":39,"collections":1189,"showCount":1190,"zanCount":11,"manualWeight":11,"mainColor":125},289659,"han-lin-qi-lv-tu-li-cheng-289659","寒林骑驴图","此为张大千氏大风堂旧藏，在大立轴上画文人骑驴行于郊野，前后有童仆相随。",[23,24,55,56,26,413,7,1133,176,269,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a41e40e74bbef65a72e644fd95d8972.jpg",[],98,{"id":1192,"slug":1193,"title":1194,"dynasty":18,"author":330,"museum":159,"description":1195,"tags":1196,"thumbUrl":1197,"material":455,"size":1198,"collection":85,"collections":1199,"showCount":1190,"zanCount":310,"manualWeight":11,"mainColor":67},220942,"shan-shui-zhou-dong-qi-chang-220942","山水轴","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\n画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,56,27,55,26,191,7,79,31,608,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[85,86],{"id":1201,"slug":1202,"title":1203,"dynasty":172,"author":1204,"museum":131,"description":1205,"tags":1206,"thumbUrl":1207,"material":307,"size":1208,"collection":63,"collections":1209,"showCount":1190,"zanCount":11,"manualWeight":11,"mainColor":67},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水图是一件精美的山水画作品。\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，体现了刁光胤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在这幅画中，刁光胤运用了清新的色彩和精细的线条来描绘山水风景。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。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[24,54,304,25,26,7,269,33,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[63],{"id":1211,"slug":1212,"title":1213,"dynasty":283,"author":870,"museum":159,"description":1214,"tags":1215,"thumbUrl":1218,"material":455,"size":1219,"collection":63,"collections":1220,"showCount":1221,"zanCount":235,"manualWeight":11,"mainColor":67},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,53,54,55,134,25,1216,30,585,176,26,7,59,1217,177,631],"中西合璧","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[63,85,634,277],97,{"id":1223,"slug":1224,"title":1225,"dynasty":172,"author":173,"museum":114,"description":1226,"tags":1227,"thumbUrl":1228,"material":120,"size":121,"collection":39,"collections":1229,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":125},288455,"jiang-shan-xue-ji-tu-wang-wei-288455","江山雪霁图","图绘峰峦层叠，长松杂树，瀑布由山腰奔腾而下，隐入林中。中景山脚平陂，古木耸立，房舍寺院；左侧白雪覆山，小径曲折通向远处，农夫相间往来，石岩之前溪流潺缓，注入冬湖，近岸又有板桥一座。近景高树参天，坡石伏岸，竹篱房舍隐见。此图构思成熟，笔法谨严认真，多以细秀圆润笔作皴画石，一丝不苟，再加以平衬染渲，点缀勾提。显示出一种清静、纯洁、寒意袭人的气氛。细微处，可见篱栅圈地，旅人穿山而行，更是增添了一种盎然生机。",[24,162,825,56,179,7,413,176,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec14c9886abbd9d04a89c8b10683b62.jpg",[],96,{"id":1232,"slug":1233,"title":1234,"dynasty":72,"author":73,"museum":252,"description":1235,"tags":1236,"thumbUrl":1238,"material":1138,"size":1239,"collection":39,"collections":1240,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":89},221411,"xiao-han-lin-tu-juan-li-cheng-221411","小寒林图卷","绘远处山恋起伏，云雾空蒙；近处松树数株，松干挺直，枝杈虬曲多姿，林木笼罩于烟霭雾气之中，四周坡面山石间杂树丛生，郁郁葱葱。李成，五代画家，画山石以“卷云皴”；画寒林创“蟹爪”法，其学生郭熙亦秉承其画风。",[23,24,54,162,56,26,27,1237,7,35],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c461e36f2a0526a7f631fdaa0a30b03.jpg","39.4x71.4\u002F39.4x233厘米",[],{"id":1242,"slug":1243,"title":1244,"dynasty":18,"author":1245,"museum":159,"description":1246,"tags":1247,"thumbUrl":1248,"material":1249,"size":1250,"collection":85,"collections":1251,"showCount":1252,"zanCount":235,"manualWeight":11,"mainColor":67},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","唐寅","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[23,24,54,55,56,27,256,1056,31,30,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纸本，淡设色","纵108.6厘米，横34.5厘米。",[85,86],95,{"id":1254,"slug":1255,"title":1256,"dynasty":283,"author":858,"museum":1257,"description":1258,"tags":1259,"thumbUrl":1260,"material":61,"size":1261,"collection":39,"collections":1262,"showCount":1263,"zanCount":310,"manualWeight":11,"mainColor":67},231362,"qin-huai-he-tu-shi-tao-231362","秦淮河图","美国克利夫兰艺术博物馆","石涛与弘仁、髡残、朱耷合称“清初四僧”，在中国书画史上影响巨大。本博分享的石涛国画作品，选自美国弗利尔美术馆（Freer Gallery of Art）珍藏的金陵山水册页：《金陵怀古册》，画面多为金陵（今南京）之景。作品中可以看出，石涛用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,54,56,25,27,26,29,30,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfce3ea245449c5759644e50c10c5ea.jpg","25.5 x 20.2厘米",[],93,{"id":1265,"slug":1266,"title":1267,"dynasty":18,"author":1268,"museum":1269,"description":1270,"tags":1271,"thumbUrl":1272,"material":511,"size":1273,"collection":39,"collections":1274,"showCount":1263,"zanCount":235,"manualWeight":11,"mainColor":89},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬","吕纪","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,53,55,134,25,268,1056,101,59,7,345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg","176.0×100.8",[],{"id":1276,"slug":1277,"title":1278,"dynasty":283,"author":1279,"museum":50,"description":1280,"tags":1281,"thumbUrl":1283,"material":1284,"size":1285,"collection":85,"collections":1286,"showCount":1287,"zanCount":310,"manualWeight":11,"mainColor":67},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,24,56,27,304,26,7,800,403,1282,57,99],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纸","纵24.4 厘米 横49.7 厘米",[85,86],92,{"id":1289,"slug":1290,"title":1291,"dynasty":283,"author":1175,"museum":20,"description":1176,"tags":1292,"thumbUrl":1293,"material":307,"size":1179,"collection":85,"collections":1294,"showCount":1287,"zanCount":11,"manualWeight":11,"mainColor":67},219992,"shan-shui-hua-fang-ni-gao-shi-wang-shi-min-219992","山水画-仿倪高士",[24,54,56,26,7,31,33,27,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1db0745ab15a7923cd8f438c16122b9.jpg",[85],{"id":1296,"slug":1297,"title":1225,"dynasty":48,"author":1298,"museum":159,"description":1299,"tags":1300,"thumbUrl":1301,"material":193,"size":1302,"collection":85,"collections":1303,"showCount":1287,"zanCount":197,"manualWeight":11,"mainColor":43},218304,"jiang-shan-xue-ji-tu-wu-jin-218304","吴瑾","寒江雪霁，天地归于素净。孤峰列峙，覆雪的岩壁透着冷峭；疏林枯木，枝桠苍劲如铁，似在寒风中守着一份清寂。江面上薄雾轻笼，一叶扁舟漾开微澜，舟中隐见人影，独对这空阔山水。笔墨淡润，山石以简皴晕染，留白处尽现雪的洁净；树木勾勒简练却含古意，每一笔都藏着文人的疏阔心境。整幅画无喧嚣，唯有静谧漫溢——雪落的轻响、江风的微痕，都凝在这方天地里，将冬日的清寒与悠远，酿成一杯可饮的孤寂，又透着几分超脱尘俗的淡然。",[24,53,54,56,27,825,319,137,100,29,1157,59,179,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[85],{"id":1305,"slug":1306,"title":1307,"dynasty":72,"author":1308,"museum":131,"description":1309,"tags":1310,"thumbUrl":1311,"material":81,"size":1312,"collection":83,"collections":1313,"showCount":1314,"zanCount":107,"manualWeight":11,"mainColor":89},221579,"zhi-ai-tu-li-tang-221579","炙艾图","李唐","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[23,53,24,54,134,25,30,7,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[83,634,277],91,{"id":1316,"slug":1317,"title":1318,"dynasty":48,"author":1319,"museum":114,"description":1320,"tags":1321,"thumbUrl":1324,"material":39,"size":39,"collection":39,"collections":1325,"showCount":1326,"zanCount":11,"manualWeight":11,"mainColor":89},228011,"yu-fu-tu-wu-zhen-228011","渔父图","吴镇","《渔父图》是元代画家 创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“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。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[23,24,56,27,55,26,29,1322,7,28,31,57,58,178,1323],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],90,{"id":1328,"slug":1329,"title":1330,"dynasty":72,"author":1331,"museum":159,"description":1332,"tags":1333,"thumbUrl":1335,"material":455,"size":1336,"collection":83,"collections":1337,"showCount":1326,"zanCount":310,"manualWeight":11,"mainColor":89},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","陈居中","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[23,24,53,134,25,1334,269,7,35,99],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[83,63,277],{"id":1339,"slug":1340,"title":1341,"dynasty":18,"author":1245,"museum":131,"description":1342,"tags":1343,"thumbUrl":1344,"material":140,"size":1345,"collection":85,"collections":1346,"showCount":1347,"zanCount":310,"manualWeight":11,"mainColor":89},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,54,26,56,27,137,319,178,7,32,921,585,59,99,117,177,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[85],89,{"id":1349,"slug":1350,"title":1351,"dynasty":18,"author":330,"museum":159,"description":1352,"tags":1353,"thumbUrl":1357,"material":1358,"size":1359,"collection":85,"collections":1360,"showCount":1361,"zanCount":310,"manualWeight":11,"mainColor":67},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,24,54,55,56,26,178,31,27,256,1354,57,1355,7,1356,230,98],"题跋","近坡","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[85,86],88,{"id":1363,"slug":1364,"title":1365,"dynasty":283,"author":956,"museum":240,"description":1366,"tags":1367,"thumbUrl":1368,"material":307,"size":960,"collection":39,"collections":1369,"showCount":1370,"zanCount":310,"manualWeight":11,"mainColor":67},216255,"jing-fu-si-qi-dong-jing-tu-5-qian-wei-cheng-216255","景敷四气冬景图-5","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n山意惟余枯树攅，云容欲雪涧收湍。溪轩坐者宜青目，但是高人定耐寒。钤印：澂观",[24,56,26,27,304,7,31,33,191,57,32,35,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb149e2e9f85b3297a5f5fc35e75adb1c.jpg",[],87,{"id":1372,"slug":1373,"title":1374,"dynasty":18,"author":330,"museum":20,"description":1375,"tags":1376,"thumbUrl":1378,"material":1379,"size":1380,"collection":85,"collections":1381,"showCount":1382,"zanCount":310,"manualWeight":11,"mainColor":43},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\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。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,53,24,54,55,56,25,27,26,7,31,57,1355,178,138,1377],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[85,86],86,{"id":1384,"slug":1385,"title":1386,"dynasty":283,"author":300,"museum":114,"description":1387,"tags":1388,"thumbUrl":1389,"material":39,"size":39,"collection":85,"collections":1390,"showCount":1391,"zanCount":11,"manualWeight":11,"mainColor":67},235165,"shan-shui-ce-zhu-da-235165","山水册","此作用笔简淡疏朗，以极省减的墨色绘就山水丘林。远山以枯淡墨线勾出轮廓，淡墨晕染出覆雪清寒，林麓隐在氤氲雾气间。近岸枯木虬曲错落，间有矮松凝立，坡岸浅渚以淡墨轻扫，寥寥数笔便铺展出江天寥廓的空茫。\n\n大片留白铺陈出天地荒寒的禅意，题款与朱印点缀留白处，虚实相生。整体气韵冷逸孤高，淡墨里藏着疏淡超脱的襟怀，将萧寒天地与幽独心境相融，笔底皆是清冷出尘的林下意趣，淡而弥远，简却传神。",[24,54,304,56,27,26,7,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[85,86],84,{"id":1393,"slug":1394,"title":1395,"dynasty":283,"author":664,"museum":252,"description":1396,"tags":1397,"thumbUrl":1400,"material":1401,"size":1402,"collection":39,"collections":1403,"showCount":1391,"zanCount":11,"manualWeight":11,"mainColor":89},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,667,25,27,26,7,1398,1399,922,29,32,57,33,376],"平林","牧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg","纸本 设色","82.5x51.2",[],{"id":1405,"slug":1406,"title":1407,"dynasty":18,"author":1408,"museum":114,"description":1409,"tags":1410,"thumbUrl":1411,"material":39,"size":39,"collection":86,"collections":1412,"showCount":1413,"zanCount":310,"manualWeight":11,"mainColor":67},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,53,24,54,162,56,27,287,26,7,78,33,29,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[86],83,{"id":1415,"slug":1416,"title":1417,"dynasty":72,"author":1021,"museum":1269,"description":1418,"tags":1419,"thumbUrl":1420,"material":511,"size":1421,"collection":83,"collections":1422,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":89},221602,"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[23,24,54,55,25,848,30,35,7,1045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[83,85],{"id":1424,"slug":1425,"title":1426,"dynasty":18,"author":94,"museum":95,"description":1427,"tags":1428,"thumbUrl":1429,"material":61,"size":1430,"collection":39,"collections":1431,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":67},220031,"dong-zhuang-tu-ce-zhi-zhen-yi-gang-shen-zhou-220031","东庄图册之振衣冈","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。",[23,53,24,54,304,56,26,30,31,178,7,33,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde339e30cbcb09c324052c43eb49532f.jpg","纵28.6厘米，横33厘米",[],{"id":1433,"slug":1434,"title":1435,"dynasty":48,"author":49,"museum":114,"description":1436,"tags":1437,"thumbUrl":1438,"material":39,"size":39,"collection":39,"collections":1439,"showCount":1440,"zanCount":310,"manualWeight":11,"mainColor":89},230908,"ku-shu-tu-ye-ni-zan-230908","枯树图页","此作用笔简淡秀峭，枯树虬曲苍劲，枝桠疏朗错落，无半片青叶，满溢荒萧寒寂。山石以干墨轻皴，淡晕出清旷崖壁，屋舍仅以数笔勾出，简净空疏。\n\n画面留白如万顷空湖，将幽冷孤高的隐逸心绪藏于笔墨之间，淡墨薄晕里，是洗尽铅华的静穆。笔意看似疏简荒率，却藏着深隽的简淡之美，枯木寒岩、空屋寂境，暗合避世文人绝尘出世的澹泊襟怀，清冷空疏中晕染出悠远禅意。",[53,24,54,304,56,27,26,7,231,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c41a63a704c22538c4a9e50706e58d.jpg",[],82,{"id":1442,"slug":1443,"title":1444,"dynasty":112,"author":113,"museum":114,"description":1445,"tags":1446,"thumbUrl":1449,"material":120,"size":121,"collection":39,"collections":1450,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":125},289356,"qiu-shan-wan-cui-tu-guan-tong-289356","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[53,24,54,55,56,25,26,1447,7,79,1448,27],"秋山","孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ececd0d022d954f2d70d8ead2688868.jpg",[],81,{"id":1453,"slug":1454,"title":71,"dynasty":72,"author":73,"museum":114,"description":1455,"tags":1456,"thumbUrl":1458,"material":120,"size":121,"collection":39,"collections":1459,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":89},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,53,24,54,26,55,56,27,230,77,1457,78,33,79,7],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],{"id":1461,"slug":1462,"title":1463,"dynasty":18,"author":1464,"museum":159,"description":1465,"tags":1466,"thumbUrl":1469,"material":1470,"size":1471,"collection":39,"collections":1472,"showCount":1451,"zanCount":310,"manualWeight":11,"mainColor":89},233461,"ba-qiao-feng-xue-tu-zhou-wu-wei-233461","灞桥风雪图轴","吴伟","“灞桥”位于西安市东的灞河之上，是东去洛阳的必经之路，古人常于此送别，唐诗中“灞桥折柳”的典故即由此而出。\n吴伟此图并非写实之景，而是取其送别的含意。图绘严冬景象，山岩积雪，树木萧瑟，行旅之人正在通过一座狭小的木桥。作者用侧锋卧笔勾勒山石，线条粗率，行笔劲疾，锋芒外露。",[24,825,55,56,27,179,1467,78,7,31,1094,1468],"严冬","送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5cc504cdaa6433fc325448a895f7b1.jpg","绢本，水墨","纵138.1厘米，横106厘米",[],{"id":1474,"slug":1475,"title":1476,"dynasty":72,"author":1308,"museum":159,"description":1477,"tags":1478,"thumbUrl":1479,"material":81,"size":1480,"collection":83,"collections":1481,"showCount":1451,"zanCount":11,"manualWeight":11,"mainColor":89},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,53,24,54,304,777,25,9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，设色","纵31cm，横42cm",[85,277],80,{"id":1494,"slug":1495,"title":1496,"dynasty":72,"author":1308,"museum":131,"description":1497,"tags":1498,"thumbUrl":1500,"material":140,"size":1501,"collection":85,"collections":1502,"showCount":1503,"zanCount":11,"manualWeight":11,"mainColor":89},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[23,24,54,56,27,25,26,7,1133,800,29,376,413,1499,31,58],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[85],79,{"id":1505,"slug":1506,"title":1507,"dynasty":72,"author":494,"museum":301,"description":1508,"tags":1509,"thumbUrl":1510,"material":140,"size":1511,"collection":39,"collections":1512,"showCount":1503,"zanCount":11,"manualWeight":11,"mainColor":67},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,835,24,54,304,25,56,27,98,99,26,7,35,33,898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg","纵28厘米、横27厘米",[],{"id":1514,"slug":1515,"title":1516,"dynasty":283,"author":1517,"museum":114,"description":1518,"tags":1519,"thumbUrl":1520,"material":39,"size":39,"collection":39,"collections":1521,"showCount":1522,"zanCount":11,"manualWeight":11,"mainColor":67},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912","花卉山水册","恽寿平","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,54,53,304,56,26,27,78,7,31,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],78,{"id":1524,"slug":1525,"title":410,"dynasty":72,"author":73,"museum":131,"description":1526,"tags":1527,"thumbUrl":1530,"material":1531,"size":1532,"collection":83,"collections":1533,"showCount":1522,"zanCount":11,"manualWeight":11,"mainColor":89},232619,"han-lin-ping-ye-tu-li-cheng-232619","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[24,54,55,56,27,26,7,28,288,35,230,1528,1529],"枯枝","裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","绢本水墨","纵137.8厘米，横69.2厘",[83],{"id":1535,"slug":1536,"title":1537,"dynasty":283,"author":1538,"museum":546,"description":1539,"tags":1540,"thumbUrl":1542,"material":511,"size":1543,"collection":85,"collections":1544,"showCount":1522,"zanCount":11,"manualWeight":11,"mainColor":89},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,24,54,55,56,287,27,26,7,321,31,1541,33,35],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[85],{"id":1546,"slug":1547,"title":1548,"dynasty":48,"author":49,"museum":159,"description":1549,"tags":1550,"thumbUrl":1551,"material":1552,"size":1553,"collection":85,"collections":1554,"showCount":1522,"zanCount":11,"manualWeight":11,"mainColor":89},220796,"lin-ting-yuan-xiu-tu-zhou-ni-zan-220796","林亭远岫图轴","《东方画谱·元代山水篇：林亭远岫图》采用三段式构图法，观此图与倪瓒的《松亭山色图》、《容膝斋图》颇有相似处。近景有两株并排生长的高树，线条劲健，笔力十足，可见多用中锋较少侧笔，故显得结实挺拔。画山石使用大量折带皴，看似草草村擦，实则苍老劲健，笔法精湛，炉火纯青。所画江面平静无风，没有舟舸，整幅画亦不见人烟，而见孤亭独立，呈现出了恬静幽远的意境。",[23,24,56,26,7,191,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[85,86],{"id":1556,"slug":1557,"title":1558,"dynasty":72,"author":494,"museum":131,"description":1559,"tags":1560,"thumbUrl":1563,"material":140,"size":1564,"collection":85,"collections":1565,"showCount":1566,"zanCount":310,"manualWeight":11,"mainColor":67},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[23,53,24,54,55,56,25,26,7,31,137,1561,1562,35],"滩","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[85],77,{"id":1568,"slug":1569,"title":1570,"dynasty":72,"author":1021,"museum":159,"description":1571,"tags":1572,"thumbUrl":1574,"material":1470,"size":1575,"collection":83,"collections":1576,"showCount":1577,"zanCount":11,"manualWeight":11,"mainColor":89},221617,"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[23,24,56,304,27,53,26,137,7,585,30,1573],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","纵23.5、横24.2厘米",[83,85,277],76,{"id":1579,"slug":1580,"title":1581,"dynasty":72,"author":1582,"museum":131,"description":1583,"tags":1584,"thumbUrl":1585,"material":193,"size":1586,"collection":1587,"collections":1588,"showCount":1577,"zanCount":310,"manualWeight":11,"mainColor":67},221247,"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[24,54,55,56,30,922,98,256,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4","书法精选",[1587],{"id":1590,"slug":1591,"title":1592,"dynasty":112,"author":617,"museum":131,"description":1593,"tags":1594,"thumbUrl":1595,"material":103,"size":1596,"collection":39,"collections":1597,"showCount":1598,"zanCount":310,"manualWeight":11,"mainColor":89},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴","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",[24,55,56,27,26,34,7,35,33,28,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],75,{"id":1600,"slug":1601,"title":1602,"dynasty":283,"author":1603,"museum":546,"description":1604,"tags":1605,"thumbUrl":1607,"material":81,"size":1608,"collection":39,"collections":1609,"showCount":1598,"zanCount":11,"manualWeight":11,"mainColor":67},230109,"hong-lou-meng-190-sun-wen-230109","红楼梦190","孙温","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",[24,134,25,873,30,585,1606,77,7,815,402,631],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371fd944c59868ac77daf0417c1ff2a6.jpg","纵43.3厘米、横76.5厘米",[],{"id":1611,"slug":1612,"title":226,"dynasty":283,"author":300,"museum":316,"description":1613,"tags":1614,"thumbUrl":1615,"material":307,"size":39,"collection":85,"collections":1616,"showCount":1598,"zanCount":11,"manualWeight":11,"mainColor":67},219756,"shan-shui-tu-zhu-da-219756","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[23,24,54,56,343,27,26,7,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[85],{"id":1618,"slug":1619,"title":1620,"dynasty":283,"author":1621,"museum":240,"description":1622,"tags":1623,"thumbUrl":1628,"material":307,"size":1629,"collection":634,"collections":1630,"showCount":1598,"zanCount":11,"manualWeight":11,"mainColor":67},218386,"xiao-yuan-yin-jiu-tu-luo-pin-218386","篠园饮酒图","罗聘","描绘扬州私人园林的风景画：偌大的宅院被松柏杂树所包围，房屋排列有致，几人正在屋内饮酒清谈。大概是秋冬时节，叶木已然飘零，庭院显得寂静而空旷。筱园建于康熙末年，位于二十四桥畔，滨湖而筑，凿池引水，修亭筑榭。春有芍药夏有荷，秋有桂花冬有梅，栽松种竹，可谓四时之景俱佳。",[53,24,56,402,30,77,1624,7,815,1625,1626,1627,191],"松柏","园林","饮酒","秋冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c31561ded939c6e30f1f594790ca72.jpg","80x54.6厘米",[634],{"id":1632,"slug":1633,"title":1634,"dynasty":172,"author":173,"museum":114,"description":1635,"tags":1636,"thumbUrl":1637,"material":120,"size":121,"collection":39,"collections":1638,"showCount":1639,"zanCount":11,"manualWeight":11,"mainColor":67},288361,"jiang-gan-xue-ji-tu-wang-wei-288361","江干雪霁图","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,53,24,54,162,56,26,179,7,32,177,31,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18c80dfbf2d7b2f44a1ccaf36b3e7de.jpg",[],74,{"id":1641,"slug":1642,"title":1643,"dynasty":72,"author":1644,"museum":895,"description":1645,"tags":1646,"thumbUrl":1647,"material":140,"size":1648,"collection":83,"collections":1649,"showCount":1639,"zanCount":310,"manualWeight":11,"mainColor":67},219885,"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[24,56,25,26,7,135,35,33,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[83,63],{"id":1651,"slug":1652,"title":1653,"dynasty":48,"author":1654,"museum":131,"description":1655,"tags":1656,"thumbUrl":1660,"material":307,"size":1661,"collection":634,"collections":1662,"showCount":1639,"zanCount":11,"manualWeight":11,"mainColor":67},216952,"mi-tuo-fo-xiang-zhang-wo-216952","弥陀佛像","张渥","这幅弥勒佛烧香招蝠是竹园二年的张渥题写的，不是真迹，更接近明末人物画家的风格。",[24,54,25,134,848,30,7,1657,320,1658,1659,99],"芭蕉","桌子","书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241a4efd980f7cd16dde56a1e854820.jpg","87.5x30.4",[634],{"id":1664,"slug":1665,"title":1666,"dynasty":283,"author":697,"museum":50,"description":1667,"tags":1668,"thumbUrl":1670,"material":61,"size":1671,"collection":39,"collections":1672,"showCount":1673,"zanCount":310,"manualWeight":11,"mainColor":67},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[24,54,26,149,56,27,743,1669,7,31,536,99],"壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],73,{"id":1675,"slug":1676,"title":1677,"dynasty":283,"author":697,"museum":114,"description":1678,"tags":1679,"thumbUrl":1680,"material":39,"size":39,"collection":39,"collections":1681,"showCount":1673,"zanCount":310,"manualWeight":11,"mainColor":67},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,53,24,54,55,56,27,26,7,59,79,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":1683,"slug":1684,"title":750,"dynasty":18,"author":1685,"museum":114,"description":1686,"tags":1687,"thumbUrl":1688,"material":37,"size":1689,"collection":85,"collections":1690,"showCount":1673,"zanCount":197,"manualWeight":11,"mainColor":67},222050,"xue-jing-tu-zhang-peng-222050","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[23,24,56,27,26,55,179,31,7,29,509,77,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[85,86],{"id":1692,"slug":1693,"title":1694,"dynasty":72,"author":494,"museum":114,"description":707,"tags":1695,"thumbUrl":1696,"material":120,"size":121,"collection":39,"collections":1697,"showCount":1698,"zanCount":11,"manualWeight":11,"mainColor":89},289358,"xue-jing-tu-han-xi-mei-xiang-ma-yuan-289358","雪景图（寒溪梅香）",[53,24,56,26,179,191,29,7,31,33,27,1122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd288b946405b599d6d3edc3dfbf95485.jpg",[],72,{"id":1700,"slug":1701,"title":1702,"dynasty":72,"author":1644,"museum":114,"description":1703,"tags":1704,"thumbUrl":1706,"material":120,"size":121,"collection":39,"collections":1707,"showCount":1708,"zanCount":310,"manualWeight":11,"mainColor":89},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","秋江渔艇图","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,53,24,162,56,825,27,26,535,29,7,1705,1094,837],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],71,{"id":1710,"slug":1711,"title":1712,"dynasty":48,"author":49,"museum":114,"description":1713,"tags":1714,"thumbUrl":1715,"material":120,"size":121,"collection":39,"collections":1716,"showCount":1717,"zanCount":11,"manualWeight":11,"mainColor":67},289441,"nan-an-shuang-shu-tu-ni-zan-289441","南岸双树图","倪瓒(1301～1374)元代画家、诗人。一说初名珽。字泰宇，后字元镇，号云林，又署云林子，或云林散人，别号荆蛮民、净名居士、朱阳馆主、莆闲仙卿、幻霞子、东海农、无住庵主、绝听子、曲全叟、沧海漫士、懒瓒、东海瓒、奚元朗。无锡（今属江苏）人。世居无锡祗陀里，多乔木，建堂名云林，因以云林自号。他一生不做官，其家是吴中有名的富户；但倪瓒不愿管理生产，自称懒瓒，亦号倪迂。性好洁,服巾日洗数次，屋前后树木也常洗拭。家中藏书数千卷，亲手勘定。擅山水、竹石、枯木等，其山水师法董源、荆浩、关仝、创“折带皴”写山石，画树木则兼师法李成，加以发展 ， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[53,24,54,55,56,7,101,35,99,98,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],70,{"id":1719,"slug":1720,"title":1721,"dynasty":72,"author":494,"museum":114,"description":1722,"tags":1723,"thumbUrl":1725,"material":39,"size":39,"collection":39,"collections":1726,"showCount":1717,"zanCount":11,"manualWeight":11,"mainColor":89},227817,"ju-bei-yao-yue-tu-ma-yuan-227817","举杯邀月图","此作用笔极简却意韵悠长，虬曲老梅斜探出崖壁，枝桠硬劲如屈铁，寥寥几笔便写尽枯寒清瘦之态。山坳屋角悬着冷月，清辉漫过嶙峋山石。水畔幽人席地而坐，似将一身襟怀尽数托付给溶溶月色与泠泠波光。\n画师以斧劈皴利落勾勒山石棱角，淡墨晕染出水色空濛，取景只撷边角小景，却以少胜多，把独酌邀月的疏旷禅意凝在咫尺绢本间，将文人寄心林泉、醉忘尘俗的隐逸情怀晕染尽致，空灵悠远的雅寂氛围扑面而来，余韵悠长。",[23,53,24,54,56,25,27,30,26,898,7,1724],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747cfa4bb3157bd6ddb01ea703372731.jpg",[],{"id":1728,"slug":1729,"title":1558,"dynasty":72,"author":494,"museum":131,"description":1730,"tags":1731,"thumbUrl":1735,"material":81,"size":1564,"collection":83,"collections":1736,"showCount":1717,"zanCount":11,"manualWeight":11,"mainColor":89},221539,"xue-tan-shuang-lu-tu-ma-yuan-221539","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[23,24,54,53,56,27,1732,179,1733,1734,7,59],"留白","滩涂","鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg",[83,63,277],{"id":1738,"slug":1739,"title":1740,"dynasty":48,"author":1741,"museum":131,"description":1742,"tags":1743,"thumbUrl":1745,"material":56,"size":1746,"collection":86,"collections":1747,"showCount":1717,"zanCount":11,"manualWeight":11,"mainColor":67},219354,"song-lin-ping-yuan-zhou-cao-zhi-bai-219354","松林平远轴","曹知白","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[24,54,55,56,825,1744,27,7,31,57,99],"平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[86],{"id":1749,"slug":1750,"title":1751,"dynasty":48,"author":1752,"museum":50,"description":1753,"tags":1754,"thumbUrl":1755,"material":193,"size":1756,"collection":63,"collections":1757,"showCount":1717,"zanCount":11,"manualWeight":11,"mainColor":67},218257,"shu-shi-tu-chen-lin-218257","树石图","陈琳","虬枝枯树斜倚坡石，墨线如铁般盘结交错，似诉岁月沧桑。山石以淡墨晕染，皴擦相间，肌理分明，朴拙中透着空灵。左侧题跋笔意流转，诗画相映，书卷气盎然。整幅作品简而不空，墨色清润，意境萧散淡远。枯树的苍劲与山石的沉稳相融，于静谧间藏生机，尽显文人画的雅致风骨。观之如临清寂山林，心随笔墨沉淀，得一份古雅之趣，笔墨间的留白与晕染，更让画面余韵悠长，耐人寻味。",[24,54,53,56,7,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e4aac310bc644eed1f183659092e43.jpg","30.6x49.7cm",[63],{"id":1759,"slug":1760,"title":1761,"dynasty":72,"author":977,"museum":114,"description":1762,"tags":1763,"thumbUrl":1764,"material":120,"size":121,"collection":39,"collections":1765,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":89},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,53,24,162,825,179,230,177,29,7,77,176,56,25,98,99,764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],68,{"id":1768,"slug":1769,"title":1770,"dynasty":72,"author":977,"museum":131,"description":1771,"tags":1772,"thumbUrl":1773,"material":81,"size":39,"collection":83,"collections":1774,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":67},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[23,53,24,54,304,25,27,26,29,509,7,31,33,377,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[83],{"id":1776,"slug":1777,"title":1778,"dynasty":48,"author":284,"museum":131,"description":1779,"tags":1780,"thumbUrl":1781,"material":1782,"size":39,"collection":85,"collections":1783,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":125},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","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。",[23,24,825,287,27,25,179,31,7,33,32,57,389,321,608,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg","设色,绢本",[85],{"id":1785,"slug":1786,"title":1787,"dynasty":48,"author":284,"museum":159,"description":1788,"tags":1789,"thumbUrl":1790,"material":140,"size":1791,"collection":85,"collections":1792,"showCount":1766,"zanCount":310,"manualWeight":11,"mainColor":89},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[24,56,26,30,1002,7,31,1157,509,27,1094,117,28,1122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[85],{"id":1794,"slug":1795,"title":1796,"dynasty":283,"author":1797,"museum":582,"description":1798,"tags":1799,"thumbUrl":1801,"material":61,"size":1802,"collection":39,"collections":1803,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":89},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,54,304,56,25,26,7,31,30,509,57,1800,29,99],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg","23.4x15.8",[],{"id":1805,"slug":1806,"title":1807,"dynasty":112,"author":617,"museum":114,"description":1593,"tags":1808,"thumbUrl":1809,"material":120,"size":121,"collection":39,"collections":1810,"showCount":1811,"zanCount":11,"manualWeight":11,"mainColor":89},290415,"wu-dai-liang-yu-le-tu-zhou-jing-hao-290415","五代梁渔乐图轴",[53,24,55,26,56,27,31,7,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c6cdb23ba7361b98c8e5b41081a410.jpg",[],67,{"id":1813,"slug":1814,"title":1815,"dynasty":283,"author":284,"museum":301,"description":1816,"tags":1817,"thumbUrl":1820,"material":140,"size":39,"collection":634,"collections":1821,"showCount":1822,"zanCount":235,"manualWeight":11,"mainColor":89},219478,"hu-ren-xing-lv-tu-yi-ming-219478","胡人行旅图","此作以枯寂寒荒的塞外平野为底，疏槎兀立，淡墨晕染出土石的荒寒之气。画面里的行旅队伍意态生动，有人策骑缓行，裹紧衣袍抵御朔风，有人牵马驻足，与同伴低语暂歇，鞍上驮囊暗合行路迢遥。\n\n笔触简淡古雅，设色沉着温润，将边地行旅的羁旅劳顿，同侪间的松弛慰藉细腻铺陈。未刻意描摹壮阔景致，只截取这一段行路日常，便将塞外游子的漂泊况味尽显，带着质朴厚重的边地生活质感，淡远的氛围感勾画出羁旅之人的漫漫归途。",[53,24,25,30,585,7,117,1818,1094,1819],"羁旅","塞外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64831dedfb1933a98537829e6477b59c.jpg",[634],65,{"id":1824,"slug":1825,"title":1826,"dynasty":172,"author":173,"museum":114,"description":1827,"tags":1828,"thumbUrl":1830,"material":120,"size":121,"collection":39,"collections":1831,"showCount":1832,"zanCount":11,"manualWeight":11,"mainColor":89},289895,"dong-xue-shan-jing-tu-wang-wei-289895","冬雪山景图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[24,825,56,179,534,7,31,1829,27],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6f6f348624fd227878f784726002c9.jpg",[],64,{"id":1834,"slug":1835,"title":1836,"dynasty":283,"author":1517,"museum":131,"description":1837,"tags":1838,"thumbUrl":1839,"material":25,"size":1840,"collection":85,"collections":1841,"showCount":1832,"zanCount":11,"manualWeight":11,"mainColor":67},220983,"fang-guo-xi-han-shan-xing-lv-yun-shou-ping-220983","仿郭熙寒山行旅","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,25,287,27,26,31,7,403,1094,117,413,57,585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5acd697e8aabd17c2b3f85707c6b56.jpg","77.2厘米",[85,86],{"id":1843,"slug":1844,"title":1845,"dynasty":18,"author":94,"museum":114,"description":1846,"tags":1847,"thumbUrl":1849,"material":120,"size":121,"collection":39,"collections":1850,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":67},287523,"shan-shui-qiu-yu-ku-shu-tu-ye-shen-zhou-287523","山水秋雨枯树图页","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[24,56,26,7,35,98,99,1848],"秋雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575f5eda6608d49616b249b8bc8e93a3.jpg",[],63,{"id":1853,"slug":1854,"title":1855,"dynasty":18,"author":19,"museum":131,"description":1856,"tags":1857,"thumbUrl":1858,"material":1859,"size":1860,"collection":85,"collections":1861,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":89},222605,"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 简秀润，韩昴在《图绘宝鉴续纂》中说他：“画从黄子久（即黄公望），入门而醒悟。”中年自立门庭，上窥晋、唐、两宋，遍摹元代诸家笔法，集取优长,由此入门，始能各极变化。不但取法郭熙、李唐及马、夏，而且对二米、云山也精心研究过。对黄公望的画悉心尤力。当代前辈沈周的画也热心师效。加之漫游南北涉猎既广，眼界自宽，故落笔纵横奇古，风格秀润。他的画风是从多方面变代出来的。晚年作品渐趋苍劲疏宕。画风又有多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。晚年他的笔法益苍劲，颇类沈周。他兼工人物、花鸟、兰竹、俱得古人三昧。他虽力追古法，但能融会贯通，自成风范，对以后的明末清初绘画影响很大。",[23,24,25,402,26,77,29,7,31,33,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dde280fbc8429c16567c2833ffe8a.jpg","绫本","27×38",[85,277],{"id":1863,"slug":1864,"title":1865,"dynasty":18,"author":330,"museum":20,"description":1866,"tags":1867,"thumbUrl":1868,"material":646,"size":39,"collection":85,"collections":1869,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":67},220960,"fang-shu-yao-feng-tu-dong-qi-chang-220960","芳树遥峰图","绘河两岸景色，远处山峰高耸，最高峰中部留白，山顶半悬，实乃绝妙之笔；近处河岸上树木林立，叶已枯槁，杆直修长，与河对岸的山峰遥遥相望。画项端题诗一首：桂树及冬荣，瑶草待春发。惟闻鸾鹤声，寥寥上烟月。",[23,24,54,55,56,27,26,743,59,177,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[85,86],{"id":1871,"slug":1872,"title":1873,"dynasty":48,"author":284,"museum":131,"description":1874,"tags":1875,"thumbUrl":1876,"material":140,"size":1877,"collection":634,"collections":1878,"showCount":1851,"zanCount":310,"manualWeight":11,"mainColor":89},214667,"sui-chao-tu-yi-ming-214667","岁朝图","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,25,134,26,30,77,7,815,32,191,176,31,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[634],{"id":1880,"slug":1881,"title":1882,"dynasty":112,"author":1883,"museum":114,"description":1884,"tags":1885,"thumbUrl":1886,"material":120,"size":121,"collection":39,"collections":1887,"showCount":1888,"zanCount":310,"manualWeight":11,"mainColor":89},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,53,24,162,25,825,1122,29,509,7,289,179,34,30,1829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],62,{"id":1890,"slug":1891,"title":1892,"dynasty":18,"author":330,"museum":159,"description":1893,"tags":1894,"thumbUrl":1895,"material":1896,"size":1897,"collection":85,"collections":1898,"showCount":1888,"zanCount":11,"manualWeight":11,"mainColor":67},220940,"fang-gu-shan-shui-dong-qi-chang-220940","仿古山水","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。\n此图册作于明天启元年（1621年），董其昌时年67岁。",[24,54,304,56,26,7,31,33,287,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ec528469518e200ec75e5ee4b32691.jpg","纸本,水墨和设色","每开纵26.3厘米,横25.5厘米",[85,86],{"id":1900,"slug":1901,"title":1902,"dynasty":48,"author":432,"museum":131,"description":1903,"tags":1904,"thumbUrl":1905,"material":140,"size":1906,"collection":63,"collections":1907,"showCount":1888,"zanCount":310,"manualWeight":11,"mainColor":89},218830,"shuang-ji-tu-zhou-zhao-meng-fu-218830","双骥图轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[24,55,25,134,30,585,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae25d8ef2b999b84e7d49b2c4aee4162.jpg","102.8x50.9cm",[63],{"id":1909,"slug":1910,"title":1911,"dynasty":72,"author":494,"museum":301,"description":1508,"tags":1912,"thumbUrl":1913,"material":140,"size":1511,"collection":39,"collections":1914,"showCount":1888,"zanCount":11,"manualWeight":11,"mainColor":67},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)",[23,24,54,304,25,26,7,78,30,98,99,256,33,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg",[],{"id":1916,"slug":1917,"title":314,"dynasty":283,"author":1918,"museum":301,"description":1919,"tags":1920,"thumbUrl":1921,"material":140,"size":1922,"collection":85,"collections":1923,"showCount":1888,"zanCount":11,"manualWeight":11,"mainColor":89},217880,"xue-jing-shan-shui-tu-li-yin-217880","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,54,26,25,27,179,319,137,78,7,1606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[85],{"id":1925,"slug":1926,"title":1927,"dynasty":72,"author":1928,"museum":114,"description":1929,"tags":1930,"thumbUrl":1931,"material":120,"size":121,"collection":39,"collections":1932,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":89},288839,"xi-shan-xing-lv-tu-zhu-rui-288839","溪山行旅图","朱锐","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[24,825,56,27,7,31,33,117,922,30,1094,179,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea03f9828d4df9b53dc2f163cd69a4a0.jpg",[],61,{"id":1935,"slug":1936,"title":1937,"dynasty":48,"author":49,"museum":131,"description":1938,"tags":1939,"thumbUrl":1940,"material":120,"size":121,"collection":39,"collections":1941,"showCount":1933,"zanCount":310,"manualWeight":11,"mainColor":67},287665,"yuan-xiu-shu-shi-tu-ni-zan-287665","远岫树石图","图中绘平坡远岫，疏林草亭，笔简意远，惜墨如金，干中见湿，躁中带润。以侧锋干笔作皴，名为“折带皴”。书法从隶入，有晋人风度。倪瓒擅画山水、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。",[24,53,54,55,56,26,7,57,35,191,256,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d5d71527524ae1af5a4236a60b1794.jpg",[],{"id":1943,"slug":1944,"title":1945,"dynasty":283,"author":858,"museum":114,"description":1146,"tags":1946,"thumbUrl":1948,"material":39,"size":39,"collection":85,"collections":1949,"showCount":1933,"zanCount":310,"manualWeight":11,"mainColor":67},237470,"yuan-ji-tao-shi-cai-ju-tu-zhou-shi-tao-237470","原济陶诗采菊图轴",[24,56,55,26,27,319,321,7,59,800,1947],"苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3235b3438219ed07d2bd0482e005116.jpg",[85,86],{"id":1951,"slug":1952,"title":226,"dynasty":18,"author":1953,"museum":159,"description":1954,"tags":1955,"thumbUrl":1956,"material":307,"size":1957,"collection":85,"collections":1958,"showCount":1933,"zanCount":235,"manualWeight":11,"mainColor":67},218374,"shan-shui-tu-li-yong-chang-218374","李永昌","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,24,56,27,55,99,26,31,178,7,321,32,1083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[85],{"id":1960,"slug":1961,"title":1962,"dynasty":48,"author":1654,"museum":114,"description":1963,"tags":1964,"thumbUrl":1965,"material":193,"size":39,"collection":634,"collections":1966,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":67},218244,"xue-ye-fang-dai-tu-zhang-wo-218244","雪夜访戴图","疏枝横斜，托出夜雪的清寒；孤棹轻漾，载得随性的旷达。画面中，枯树虬劲如铁，寒江空蒙似练，小舟泊于岸侧，篷窗半掩。舟中人物或凭舷凝思，或敛袖安坐，神态悠然自适。此作取王子猷雪夜访戴典故，不着一字写雪，却以萧索枯枝、静谧孤舟暗合冬夜清寂。笔墨简练传神，线条流畅婉转，皴染淡雅自然，将魏晋士人“乘兴而来，兴尽而返”的旷达心境，融入寒江孤棹的图景。观者仿佛能透过纸面，触摸那份不拘形迹的自在，感受超脱世俗的精神余韵，尽显古典文人画的意境之美。",[24,54,149,56,30,29,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52371083784394e711a04b815e88c70f.jpg",[634],{"id":1968,"slug":1969,"title":1970,"dynasty":18,"author":1245,"museum":114,"description":1971,"tags":1972,"thumbUrl":1975,"material":120,"size":121,"collection":39,"collections":1976,"showCount":1977,"zanCount":310,"manualWeight":11,"mainColor":67},290852,"pin-cha-tu-zhou-tang-yin-290852","品茶图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。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”。",[53,24,54,55,56,98,99,256,1973,26,30,7,31,32,1974],"楷书","品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],60,{"id":1979,"slug":1980,"title":1981,"dynasty":18,"author":1982,"museum":1983,"description":1984,"tags":1985,"thumbUrl":1987,"material":1988,"size":1989,"collection":63,"collections":1990,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":39},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","林良","香港中文大学文物馆","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,24,54,56,343,55,268,269,176,7,35,1986],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[63],{"id":1992,"slug":1993,"title":1994,"dynasty":283,"author":1797,"museum":131,"description":1995,"tags":1996,"thumbUrl":1997,"material":307,"size":39,"collection":39,"collections":1998,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":67},214842,"xie-sheng-ce-19-hua-yan-214842","写生册-19","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,54,304,56,25,585,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f06695717fd42b73d213f402b2362a.jpg",[],{"id":2000,"slug":2001,"title":2002,"dynasty":72,"author":1308,"museum":114,"description":2003,"tags":2004,"thumbUrl":2006,"material":120,"size":121,"collection":39,"collections":2007,"showCount":2008,"zanCount":11,"manualWeight":11,"mainColor":89},288223,"qiu-dong-shan-shui-tu-li-tang-288223","秋冬山水图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[24,825,56,27,7,321,79,31,1627,2005],"寒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec7f5b52580af7e7f6660f1752608c3.jpg",[],59,{"id":2010,"slug":2011,"title":2012,"dynasty":48,"author":1298,"museum":159,"description":2013,"tags":2014,"thumbUrl":2017,"material":193,"size":2018,"collection":85,"collections":2019,"showCount":2008,"zanCount":235,"manualWeight":11,"mainColor":67},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[24,54,825,56,27,343,99,98,178,31,33,2015,608,7,2016,57],"坡岸","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[85],{"id":2021,"slug":2022,"title":2023,"dynasty":72,"author":494,"museum":114,"description":2024,"tags":2025,"thumbUrl":2026,"material":39,"size":39,"collection":39,"collections":2027,"showCount":2028,"zanCount":310,"manualWeight":11,"mainColor":89},227822,"jiang-yin-du-shu-tu-ye-ma-yuan-227822","江荫读书图页","此作用边角取景，绘就江天寥廓之境。淡墨晕染远山，隐现烟霭之中，愈显空濛悠远。近岸危崖虬曲，寒梅凝枝、丹枫缀艳，冷暖相映为萧索冬色添几分鲜活。板桥之上，二人围坐展卷，在幽寂江隅漫品诗书，闲雅意趣随江风漾开。\n笔意苍劲洗练，大片留白拓宽了江天之境，将冬日江隅的清寂与文人林下雅兴相融，尽显空灵隽秀的诗意之美。",[23,53,24,54,304,25,134,27,26,30,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2d753a9bb5372213332d31fe07b403.jpg",[],58,{"id":2030,"slug":2031,"title":2032,"dynasty":18,"author":2033,"museum":50,"description":2034,"tags":2035,"thumbUrl":2037,"material":61,"size":2038,"collection":85,"collections":2039,"showCount":2028,"zanCount":11,"manualWeight":11,"mainColor":67},221933,"za-hua-ce-guo-xu-221933","杂画册","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,54,56,149,304,30,7,2036,99,271],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 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北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[24,825,56,27,179,26,7,413,2056,2057,35,34,1499],"渔舍","溪岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[83],57,{"id":2063,"slug":2064,"title":2065,"dynasty":72,"author":73,"museum":114,"description":2066,"tags":2067,"thumbUrl":2069,"material":120,"size":121,"collection":39,"collections":2070,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":89},289660,"song-xia-gao-shi-tu-li-cheng-289660","松下高士图","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。",[23,24,53,55,56,26,30,7,2068,27,31],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f602d1c6e4474cdb9b8901a8eac0943.jpg",[],{"id":2072,"slug":2073,"title":2074,"dynasty":72,"author":158,"museum":131,"description":1081,"tags":2075,"thumbUrl":2076,"material":81,"size":121,"collection":39,"collections":2077,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":89},288831,"han-lin-tu-guo-xi-288831","寒林图",[23,24,56,825,7,413,179,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f730e4c4ef38aba763543541f0e5e17.jpg",[],{"id":2079,"slug":2080,"title":2081,"dynasty":283,"author":2082,"museum":114,"description":2083,"tags":2084,"thumbUrl":2085,"material":39,"size":39,"collection":39,"collections":2086,"showCount":2061,"zanCount":310,"manualWeight":11,"mainColor":67},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","陈枚","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[24,402,25,134,304,99,26,77,78,178,31,536,815,403,57,7,935,2036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":2088,"slug":2089,"title":2090,"dynasty":112,"author":2091,"museum":114,"description":2092,"tags":2093,"thumbUrl":2095,"material":39,"size":39,"collection":39,"collections":2096,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":89},226707,"ting-qin-tu-zhou-wen-ju-226707","听琴图","周文矩","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,24,54,53,134,149,25,30,7,191,31,2094,230,815],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":2098,"slug":2099,"title":226,"dynasty":72,"author":494,"museum":2100,"description":707,"tags":2101,"thumbUrl":2102,"material":2103,"size":2104,"collection":83,"collections":2105,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":67},221666,"shan-shui-tu-ma-yuan-221666","维多利亚和阿尔伯特博物馆",[23,53,24,56,777,27,678,26,7,31,57,1800,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 淡设色","25.5X25.7",[83,85,86],{"id":2107,"slug":2108,"title":640,"dynasty":72,"author":641,"museum":114,"description":2109,"tags":2110,"thumbUrl":2113,"material":120,"size":121,"collection":39,"collections":2114,"showCount":2115,"zanCount":11,"manualWeight":11,"mainColor":89},288243,"xue-tang-ke-hua-tu-xia-gui-288243","此图描绘江南雪景，笔法苍劲浑厚，山石多用小斧劈破和短线条秃笔直破，从而取得了方硬奇峭，水墨苍润的艺术效果。",[23,53,24,56,825,179,29,32,7,413,177,27,2111,2112],"冬日","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd807fa2735ecdebe9ea2f7cddcb2e2.jpg",[],56,{"id":2117,"slug":2118,"title":2119,"dynasty":18,"author":2120,"museum":131,"description":2121,"tags":2122,"thumbUrl":2124,"material":56,"size":2125,"collection":85,"collections":2126,"showCount":2115,"zanCount":11,"manualWeight":11,"mainColor":67},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,53,24,54,55,56,27,31,7,403,79,2123,413,26],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[85,277],{"id":2128,"slug":2129,"title":2130,"dynasty":72,"author":494,"museum":1269,"description":2131,"tags":2132,"thumbUrl":2133,"material":81,"size":2134,"collection":39,"collections":2135,"showCount":2115,"zanCount":310,"manualWeight":11,"mainColor":89},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、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。",[23,24,53,54,777,56,25,30,29,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg","纵26厘米，横26.5厘米",[],{"id":2137,"slug":2138,"title":2139,"dynasty":283,"author":422,"museum":159,"description":2140,"tags":2141,"thumbUrl":2142,"material":193,"size":2143,"collection":85,"collections":2144,"showCount":2115,"zanCount":11,"manualWeight":11,"mainColor":67},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,24,56,26,27,287,319,486,191,100,35,33,7,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[85],{"id":2146,"slug":2147,"title":2148,"dynasty":72,"author":73,"museum":114,"description":2066,"tags":2149,"thumbUrl":2151,"material":120,"size":121,"collection":39,"collections":2152,"showCount":2153,"zanCount":11,"manualWeight":11,"mainColor":89},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图",[53,24,54,55,56,825,27,179,534,2150,7,32,33,413],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],55,{"id":2155,"slug":2156,"title":2157,"dynasty":283,"author":664,"museum":131,"description":2158,"tags":2159,"thumbUrl":2160,"material":81,"size":2161,"collection":85,"collections":2162,"showCount":2153,"zanCount":11,"manualWeight":11,"mainColor":89},224464,"lin-fan-kuan-xue-shan-tu-zhou-wang-hui-224464","临范宽雪山图轴","山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[23,24,825,287,27,56,25,534,31,7,231,55,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 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哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,53,24,54,304,134,25,176,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[83,63,277],{"id":2234,"slug":2235,"title":2236,"dynasty":48,"author":49,"museum":131,"description":2237,"tags":2238,"thumbUrl":2239,"material":193,"size":2240,"collection":39,"collections":2241,"showCount":2242,"zanCount":310,"manualWeight":11,"mainColor":67},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[53,24,54,55,56,7,101,35,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],52,{"id":2244,"slug":2245,"title":2246,"dynasty":72,"author":641,"museum":159,"description":642,"tags":2247,"thumbUrl":2248,"material":646,"size":647,"collection":39,"collections":2249,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":89},234069,"xue-tang-ke-hua-tu-ye-xia-gui-234069","雪堂客话图页",[53,24,56,27,304,26,137,644,29,7,31,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e55a19b946913db261fab13dbdda68c.jpg",[],{"id":2251,"slug":2252,"title":2253,"dynasty":48,"author":49,"museum":131,"description":2254,"tags":2255,"thumbUrl":2257,"material":61,"size":2258,"collection":39,"collections":2259,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":67},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[53,24,54,162,56,26,27,256,99,57,2256,7,375,35],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 横89.4cm",[],{"id":2261,"slug":2262,"title":2263,"dynasty":18,"author":1245,"museum":114,"description":2264,"tags":2265,"thumbUrl":2267,"material":39,"size":39,"collection":39,"collections":2268,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":67},228470,"shan-shui-ren-wu-tang-yin-228470","山水人物","此作用笔清隽淡远，以留白铺陈出漫山雪意，崖壁枯木虬曲苍劲，瘦硬枝桠如铁戟凌冬，尽显萧寒荒疏之境。危岩之间栈道萦回，白衣策杖的高士独立崖头，孑然身影衬出天地寥廓，似在静览山光，暗合文人幽寂疏放的襟怀。\n\n画幅左上题诗与朱红印章相映成趣，诗画相融。以极简淡墨皴擦山石肌理，将冬山冷峻空寂的意境晕染尽致，笔意简括却藏着沉郁文思，把山水作为情志寄寓之所，淡远空灵间，尽显世外幽人不与俗同的清高气骨。",[24,54,56,27,26,30,7,31,2266,99],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e44cbc58b4a9b4b74676cca05cca0ac.jpg",[],{"id":2270,"slug":2271,"title":750,"dynasty":72,"author":284,"museum":131,"description":2272,"tags":2273,"thumbUrl":2274,"material":140,"size":2275,"collection":85,"collections":2276,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":67},218807,"xue-jing-tu-yi-ming-218807","这幅画完全以郭熙为原型，是一幅平坦而高大的雪山图。笔法高超，渲染细腻，与唐棣、朱德润不同，与同集的《岷山晴雪》的笔法或晋代的笔法相似。",[23,24,54,26,56,25,27,7,31,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44eed831c8d808e79d6530358092763e.jpg","25.7x26.8",[85],{"id":2278,"slug":2279,"title":2280,"dynasty":72,"author":494,"museum":131,"description":2281,"tags":2282,"thumbUrl":2285,"material":103,"size":2286,"collection":39,"collections":2287,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":89},290999,"ju-bei-wan-yue-zhou-ma-yuan-290999","举杯玩月轴","风格独特，富有诗意画。水能表现出在不同环境气候下的种种形态。其花鸟作品善于在自然环境中描绘花鸟的神情野趣。",[53,24,55,56,26,30,898,2016,7,31,2283,1626,2284,27],"雾","闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde301ff84b5c3a8dfe486393212f2ca.jpg","205.6x104.1",[],51,{"id":2290,"slug":2291,"title":2292,"dynasty":18,"author":2293,"museum":240,"description":2294,"tags":2295,"thumbUrl":2296,"material":2297,"size":2298,"collection":85,"collections":2299,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":67},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,24,54,162,56,27,98,256,26,28,7,31,35,191,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[85,86],{"id":2301,"slug":2302,"title":2303,"dynasty":18,"author":2304,"museum":131,"description":2305,"tags":2306,"thumbUrl":2307,"material":307,"size":2308,"collection":85,"collections":2309,"showCount":2288,"zanCount":11,"manualWeight":11,"mainColor":67},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[24,54,55,56,25,26,31,7,30,32,874,59,608,27,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","184.3x59厘米",[85,277],{"id":2311,"slug":2312,"title":2313,"dynasty":72,"author":2314,"museum":131,"description":2315,"tags":2316,"thumbUrl":2317,"material":140,"size":2318,"collection":85,"collections":2319,"showCount":2288,"zanCount":310,"manualWeight":11,"mainColor":89},218880,"fang-dai-tu-yan-wen-gui-218880","访戴图","燕文贵","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[23,53,24,56,25,27,825,26,178,7,32,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40533f611ebb8113ef7135e83a646b99.jpg","22.1x24.6",[85],{"id":2321,"slug":2322,"title":2323,"dynasty":72,"author":315,"museum":114,"description":317,"tags":2324,"thumbUrl":2325,"material":120,"size":121,"collection":39,"collections":2326,"showCount":2327,"zanCount":310,"manualWeight":11,"mainColor":67},290484,"xue-shan-tu-fan-kuan-290484","雪山图",[24,777,56,26,534,7,191,33,179,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbdbcb25d9a80347e20f677806d5ce0.jpg",[],50,{"id":2329,"slug":2330,"title":410,"dynasty":72,"author":73,"museum":131,"description":2331,"tags":2332,"thumbUrl":2333,"material":81,"size":121,"collection":39,"collections":2334,"showCount":2327,"zanCount":235,"manualWeight":11,"mainColor":89},289346,"han-lin-ping-ye-tu-li-cheng-289346","从这幅《寒林平野图》上看，画面描绘的是萧瑟的隆冬平野景色。近景两株长松亭立，古柏形如苍虬，枝干交柯，老根盘结；中景河道曲折，似冰冻凝固，寒冬萧萧；远景烟霭空蒙而至天际，整幅画面给人一种空灵而又凄凉之感。清人孙承泽在《庚子消夏记》书中，他对《寒林平野图》的极高评价：“古木夭矫，雪色凛冽，寒鸦群集衰草中。暑月展之，如披北风图，令人可以挟扩，非营丘不能也。”这正是对李成最擅长的山水画笔法的诠释。尤其是图中所绘的树枝，无论粗细，均呈弧线曲形，将线条的力度发挥到最大程度，构成了中国古典山水画中最优美的线条。",[24,53,54,55,56,27,26,413,288,7,28,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d5e33a8b9dab4c46c24b3bd9614639.jpg",[],{"id":2336,"slug":2337,"title":2338,"dynasty":72,"author":73,"museum":114,"description":1455,"tags":2339,"thumbUrl":2340,"material":120,"size":121,"collection":39,"collections":2341,"showCount":2327,"zanCount":310,"manualWeight":11,"mainColor":89},287580,"qing-luan-xiao-si-tu-tiao-se-ban-li-cheng-287580","晴峦萧寺图（调色版）",[53,24,55,56,27,26,402,77,78,33,7,31,79,1457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe32453f235b0bbb4ac2f9aaa3730c96.jpg",[],{"id":2343,"slug":2344,"title":2345,"dynasty":48,"author":214,"museum":114,"description":2346,"tags":2347,"thumbUrl":2351,"material":120,"size":121,"collection":39,"collections":2352,"showCount":2327,"zanCount":310,"manualWeight":11,"mainColor":89},283620,"chu-jiang-jun-chu-lie-tu-juan-wang-meng-283620","楚将军出猎图卷","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,162,25,30,2348,585,269,2349,31,7,2350],"狩猎","猎犬","荒草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec6c80c7dc97ba90759e5c0fb4f398a.jpg",[],{"id":2354,"slug":2355,"title":2356,"dynasty":283,"author":858,"museum":114,"description":2357,"tags":2358,"thumbUrl":2359,"material":39,"size":39,"collection":39,"collections":2360,"showCount":2327,"zanCount":310,"manualWeight":11,"mainColor":67},235908,"yuan-ji-shan-shui-ren-wu-tu-ye-shi-tao-235908","原济山水人物图页","这幅水墨小景以平远之法铺陈，淡墨晕染的远山如笼轻烟，虚灵悠远，将江天的空寂缓缓铺展。近岸茅舍错落，枯木遒劲疏朗，不着片叶，清寒萧索之意扑面而来。两位策杖逸士缓行低语，简括的衣纹里藏着松弛意趣，为冷寂山水晕开鲜活的人间烟火气。\n\n笔墨枯淡松秀，皴擦简省，只以淡墨扫出山形轮廓，留白疏密相宜，将江村冬日的清旷淡远尽数勾勒，禅意与野趣相融，于尺幅小景中尽显萧散简远的文人意趣，淡而有味，简中见深，藏着林泉幽居的悠悠雅怀。",[53,24,56,27,304,26,30,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fcbddf539067fbbc2e5d9fd3d589cc.jpg",[],{"id":2362,"slug":2363,"title":2364,"dynasty":283,"author":422,"museum":95,"description":2365,"tags":2366,"thumbUrl":2369,"material":193,"size":39,"collection":85,"collections":2370,"showCount":2327,"zanCount":310,"manualWeight":11,"mainColor":67},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,54,53,56,27,55,825,26,178,33,29,31,2367,403,7,59,2368],"河岸","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[85],{"id":2372,"slug":2373,"title":2374,"dynasty":48,"author":49,"museum":114,"description":1713,"tags":2375,"thumbUrl":2376,"material":120,"size":121,"collection":39,"collections":2377,"showCount":2378,"zanCount":11,"manualWeight":11,"mainColor":67},289458,"an-nan-shuang-shu-tu-zhuang-biao-ni-zan-289458","岸南双树图（装裱）",[53,24,54,55,56,98,99,7,101,35,26,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d7e6387dfc02f12dc56969477fdceb.jpg",[],49,{"id":2380,"slug":2381,"title":226,"dynasty":283,"author":2382,"museum":131,"description":2383,"tags":2384,"thumbUrl":2385,"material":56,"size":39,"collection":86,"collections":2386,"showCount":2378,"zanCount":11,"manualWeight":11,"mainColor":67},219380,"shan-shui-tu-wang-duo-219380","王铎","虬枝盘曲，墨色浓淡交织，似在风中低语。苍劲笔触勾勒树的骨节，枯笔皴擦间尽显老辣之态。背景山峦以淡墨晕染，层叠隐现于烟水之间，远处汀渚点点，归帆依稀。近树与远岫形成疏密对比，留白处见空灵，墨色浓处显沉厚。写意之笔将山水荒寒与悠远融于一纸，笔墨干湿变化中藏着对自然的静观哲思，简淡里见深致，苍莽中显清逸，仿佛能听见风穿枝桠的轻响，望见烟霭中山峦的呼吸，于方寸间铺展无尽悠远之境。",[24,54,55,56,26,7,57,32,305,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[86],{"id":2388,"slug":2389,"title":2390,"dynasty":18,"author":2391,"museum":131,"description":2392,"tags":2393,"thumbUrl":2406,"material":274,"size":2407,"collection":85,"collections":2408,"showCount":2409,"zanCount":310,"manualWeight":11,"mainColor":89},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,25,26,134,29,34,101,2394,57,403,33,1059,100,271,289,562,2395,7,2396,2397,2398,2399,2400,2401,2402,1058,2403,305,2015,1063,710,2404,2405],"渔夫","岸石","汀渚","渔人","舟楫","烟波","浅滩","丛竹","近岸","霭气","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[85,86],48,{"id":2411,"slug":2412,"title":2413,"dynasty":72,"author":2414,"museum":114,"description":2415,"tags":2416,"thumbUrl":2417,"material":120,"size":121,"collection":39,"collections":2418,"showCount":2419,"zanCount":11,"manualWeight":11,"mainColor":89},290494,"xue-shan-gui-lie-tu-di-yuan-shen-290494","雪山归猎图","翟院深","《宋翟院深雪山归猎图》，此画表现北方山区冬日寒冽景象。此画左下楷书署款“营丘翟院深画”，右下角钤“天水郡口藏书画印记” 。\n翟院深无作品流传于世，画中雪山崔巍，老木寒柯，气象萧疏，是一幅李成传派的宋画。",[23,24,825,27,534,7,31,179,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213ef25e23b1ae0d2de584a8008fe774.jpg",[],47,{"id":2421,"slug":2422,"title":2423,"dynasty":72,"author":73,"museum":131,"description":2424,"tags":2425,"thumbUrl":2427,"material":120,"size":121,"collection":39,"collections":2428,"showCount":2419,"zanCount":235,"manualWeight":11,"mainColor":89},290328,"han-lin-tu-zhou-li-cheng-290328","寒林图轴","该幅画以近景为主，画幅中央矗立著三株巨树，一湾溪水三叠流出，激流漱石，幅内烟岚飘忽游于林中，虚实相映。勾画树干、皴树皮、点叶皆用细笔，虽劲拔挺捷，然仍具一股娟秀气息，树干上勾圈出很多木瘿，枝桠若龙蛇四面分张，苍劲遒逸，涧流两侧土坡淡墨卧笔层叠皴染，笔法细腻又具变化。水纹及腾溅水花之取笔粗细并用，且劲挺有力，似闻激溅之声。",[24,53,55,56,26,30,7,413,31,79,2426,98,99],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7053bf2f5e8d19cc962f067e8bb0dcd9.jpg",[],{"id":2430,"slug":2431,"title":2432,"dynasty":283,"author":1603,"museum":546,"description":1604,"tags":2433,"thumbUrl":2436,"material":81,"size":1608,"collection":39,"collections":2437,"showCount":2419,"zanCount":11,"manualWeight":11,"mainColor":67},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,54,134,25,402,30,2434,77,815,178,7,321,31,2036,2435,32],"美人","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],{"id":2439,"slug":2440,"title":2074,"dynasty":18,"author":1114,"museum":316,"description":2441,"tags":2442,"thumbUrl":2443,"material":193,"size":2444,"collection":85,"collections":2445,"showCount":2419,"zanCount":310,"manualWeight":11,"mainColor":67},219772,"han-lin-tu-wen-zheng-ming-219772","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,56,55,27,26,7,28,31,33,413,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[85],{"id":2447,"slug":2448,"title":2449,"dynasty":48,"author":2450,"museum":2451,"description":2452,"tags":2453,"thumbUrl":2455,"material":140,"size":2456,"collection":63,"collections":2457,"showCount":2419,"zanCount":11,"manualWeight":11,"mainColor":89},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","日本东京国立博物馆","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[23,53,24,54,56,27,26,176,7,968,2454,57],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[63],{"id":2459,"slug":2460,"title":2461,"dynasty":18,"author":2462,"museum":114,"description":2463,"tags":2464,"thumbUrl":2465,"material":140,"size":39,"collection":39,"collections":2466,"showCount":2419,"zanCount":11,"manualWeight":11,"mainColor":89},216290,"er-shi-si-xiao-tu-5-chou-ying-216290","二十四孝图-5","仇英","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,54,134,25,30,26,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c3a9804fb203921bac19a332163675.jpg",[],{"id":2468,"slug":2469,"title":2470,"dynasty":283,"author":697,"museum":114,"description":2471,"tags":2472,"thumbUrl":2473,"material":120,"size":121,"collection":39,"collections":2474,"showCount":2475,"zanCount":310,"manualWeight":11,"mainColor":67},290003,"mei-hua-shu-wu-tu-zhou-hong-ren-290003","梅花书屋图轴","该图画一座房屋，一棵梅树，景物简洁。该图干墨皴擦，但在亭子上用淡墨渲染，形成大对比。用笔很少，但意趣很丰富。",[24,56,55,1541,7,101,98,99,179,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157a432cd94e76aaf0d5824a4e063eb9.jpg",[],46,{"id":2477,"slug":2478,"title":1386,"dynasty":283,"author":2479,"museum":114,"description":2480,"tags":2481,"thumbUrl":2483,"material":39,"size":39,"collection":85,"collections":2484,"showCount":2475,"zanCount":11,"manualWeight":11,"mainColor":67},238137,"shan-shui-ce-yun-xi-238137","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,25,26,27,304,7,32,78,33,31,2482,99],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d89a59d4ebcdbd28b9133d9dda8babf.jpg",[85,277],{"id":2486,"slug":2487,"title":1548,"dynasty":48,"author":49,"museum":159,"description":2488,"tags":2489,"thumbUrl":2492,"material":2493,"size":1553,"collection":39,"collections":2494,"showCount":2475,"zanCount":11,"manualWeight":11,"mainColor":89},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[24,54,55,56,26,2490,1732,766,1058,2491,7,32,31,33,1354,256,35],"干笔皴擦","林亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纸本水墨",[],{"id":2496,"slug":2497,"title":2498,"dynasty":18,"author":2499,"museum":131,"description":2500,"tags":2501,"thumbUrl":2519,"material":103,"size":2520,"collection":39,"collections":2521,"showCount":2475,"zanCount":11,"manualWeight":11,"mainColor":89},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","风雨归舟图","戴进","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,24,825,2502,56,2503,27,2504,2505,2506,2507,2508,178,2509,289,7,2510,521,2511,57,59,2512,2513,2514,2515,2516,2517,2518],"兼工带写","浅设色","大斧劈皴","夹叶法","点叶法","高山","归舟","山崖","溪桥","竹林","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 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出版。",[23,24,54,55,56,27,26,2577,800,178,59,7],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],{"id":2581,"slug":2582,"title":2583,"dynasty":283,"author":697,"museum":2218,"description":2584,"tags":2585,"thumbUrl":2588,"material":307,"size":2589,"collection":85,"collections":2590,"showCount":2570,"zanCount":11,"manualWeight":11,"mainColor":67},219953,"xiao-jiang-feng-bian-tu-hong-ren-219953","晓江风便图","图绘自新安至扬州，由浦口练江入新安江壹线实景。前段写练江沿岸将军山诸山嵌岩峭峙，林木萧瑟之景。后段写新安江对岸晓雾迷蒙烟峦重叠，轻舟挂帆乘风的情景。笔墨线条遒缓，意境荒僻，不染尘垢。\n图尾自题“辛丑十壹月，伯炎居士将广陵之装，学人写晓江风便图以送，揆有数月之间，蹊桃初绽，瞻望旋旌。弘仁”。钤“弘仁”、“渐江”印。\n图后附吴羲行书、程守行书、许楚草书、石涛楷书跋各壹段。辛丑为清顺治十八年，公元1661年，作者时年52岁。款署“辛丑十一月”，另纸有渐江的好友吴羲、程宁、许楚跋语。吴、许二跋署年癸卯(康熙二年，公元1663年)，皆在渐江卒前数月。还有石涛丙子年(1696年)题跋，皆为研究渐江生平及其艺术的重要资料。",[23,24,162,56,26,27,29,191,7,100,33,2586,57,2587],"江","近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6a2a3eed5925dfa7655939a663e8c.jpg","纵28.5横43厘米",[85],{"id":2592,"slug":2593,"title":2594,"dynasty":283,"author":2595,"museum":114,"description":2596,"tags":2597,"thumbUrl":2598,"material":39,"size":39,"collection":39,"collections":2599,"showCount":2600,"zanCount":11,"manualWeight":11,"mainColor":67},230254,"shan-shui-ce-ye-dai-ben-xiao-230254","山水册页","戴本孝","此作用笔枯淡简老，危崖陡立，笔墨寥寥便勾勒出崖壁的空灵高旷，下方丘石隐于淡墨晕染之中，古松斜生崖侧，自带荒寒萧疏之气。\n\n以书入画，左上角题诗与山水意境相融，淡墨轻皴间不见繁饰，尽显幽寂清寒的林下襟怀，将天地寥廓的沉静与遗民孤高的心境相合，静穆淡远间溢出清冷出尘的禅意，尽显简淡空灵的山水意趣，淡岚浅墨里皆是超然物外的悠远之致。",[24,54,304,56,26,27,35,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991f998630870f784c679c1986745d2c.jpg",[],44,{"id":2602,"slug":2603,"title":2604,"dynasty":72,"author":494,"museum":114,"description":2605,"tags":2606,"thumbUrl":2607,"material":39,"size":39,"collection":39,"collections":2608,"showCount":2600,"zanCount":310,"manualWeight":11,"mainColor":89},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,54,162,134,27,30,178,78,33,31,536,585,29,1626,321,7,177,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":2610,"slug":2611,"title":2612,"dynasty":18,"author":628,"museum":114,"description":2613,"tags":2614,"thumbUrl":2615,"material":2616,"size":2617,"collection":85,"collections":2618,"showCount":2600,"zanCount":11,"manualWeight":11,"mainColor":89},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,24,55,56,25,27,26,191,100,7,321,59,33,57,35,376,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[85,277],{"id":2620,"slug":2621,"title":2622,"dynasty":283,"author":2623,"museum":159,"description":2624,"tags":2625,"thumbUrl":2626,"material":307,"size":2627,"collection":85,"collections":2628,"showCount":2600,"zanCount":11,"manualWeight":11,"mainColor":67},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,54,26,179,7,32,874,33,57,191,56,25,27,55,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[85],{"id":2630,"slug":2631,"title":2632,"dynasty":72,"author":1021,"museum":114,"description":2633,"tags":2634,"thumbUrl":2635,"material":120,"size":121,"collection":39,"collections":2636,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":89},289957,"xue-jing-shan-shui-ye-liang-kai-289957","雪景山水页","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。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。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[24,53,777,56,27,26,179,7,29,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626a1cd836e0e08dc4762048b518eb9f.jpg",[],43,{"id":2639,"slug":2640,"title":2641,"dynasty":72,"author":2642,"museum":114,"description":2643,"tags":2644,"thumbUrl":2651,"material":120,"size":121,"collection":39,"collections":2652,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":89},289345,"jing-zhuang-shi-nv-tu-su-han-chen-289345","靓妆仕女图","苏汉臣","苏汉臣（1094年―1172年），汴京（今河南开封）人，北宋画家。北宋徽宗宣和年间（1119~1125）任画院待诏，南宋高宗绍兴年间（1131~1162）复职，南宋孝宗隆兴初年（1163）任承信郎。\n苏汉臣曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。师刘宗古，工画道释、人物臻妙，尤善婴孩，所画货郎图，描画精细，货物繁颐，更为特出。\n苏汉臣师从画院待诏刘宗古，所绘人物、士女及佛道宗教画，用笔工整细劲，着色鲜润。尤擅描绘婴儿嬉戏之景和货郎担，情态生动。传世作品有《秋庭戏婴图》《五瑞图》《击乐图》《婴戏图》等。",[24,777,134,25,2645,2434,2646,2647,2648,7,2649,2650],"仕女","室内场景","妆扮","屏风","盆栽","娴静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461f3a441637bef355b5e52fce686547.jpg",[],{"id":2654,"slug":2655,"title":2656,"dynasty":72,"author":2657,"museum":114,"description":2658,"tags":2659,"thumbUrl":2660,"material":120,"size":121,"collection":39,"collections":2661,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":89},289331,"xi-shan-shui-ge-tu-li-song-289331","溪山水阁图","李嵩","此幅绘溪水寒林，峭壁危岩，远山空蒙，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[23,53,24,777,56,26,77,78,7,57,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a877faf9267ef285cfa4fa0ac8188a.jpg",[],{"id":2663,"slug":2664,"title":2665,"dynasty":72,"author":1021,"museum":114,"description":2666,"tags":2667,"thumbUrl":2668,"material":120,"size":121,"collection":39,"collections":2669,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":67},288491,"liu-zu-jie-zhu-tu-liang-kai-288491","六祖截竹图","画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,24,53,55,56,149,30,848,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613ca3795615c3e18fe9384d18d42ce9.jpg",[],{"id":2671,"slug":2672,"title":2673,"dynasty":283,"author":858,"museum":114,"description":2674,"tags":2675,"thumbUrl":2676,"material":39,"size":39,"collection":39,"collections":2677,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":67},228978,"shan-shui-tu-ce-8-kai-zhang-da-qian-jiu-cang-shi-tao-228978","山水图册8开-张大千旧藏","此作笔墨简淡萧疏，以淡墨晕开远山，只留朦胧轮廓，似烟霭轻笼，清寂淡远之味扑面而来。近侧丘石以枯笔皴擦，朴拙苍厚，带着不加修饰的古雅意趣。坡岸林木尽褪繁叶，枝桠错落伸展，空寒疏朗间尽显秋冬的萧索清宁。临水茅舍三两间隐于石木之间，幽寂安闲，似藏着避世幽居的自在意趣。\n\n题句与四方朱印错落排布，诗书画印相融，为素淡画面晕开一抹朱红暖意。整幅以简驭繁，将空山新雨后的微茫清润藏在尺幅间，笔底漫着林下幽居的静穆悠然。",[24,56,27,304,26,7,32,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1034ecc6c707758e750317af7df068c0.jpg",[],{"id":2679,"slug":2680,"title":2681,"dynasty":18,"author":2682,"museum":2683,"description":2684,"tags":2685,"thumbUrl":2687,"material":25,"size":2688,"collection":85,"collections":2689,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":89},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴","周臣","美国普林斯顿大学美术馆","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,54,55,56,25,134,27,26,30,28,7,32,177,2686,376,99],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[85,86],{"id":2691,"slug":2692,"title":2693,"dynasty":18,"author":2694,"museum":131,"description":2695,"tags":2696,"thumbUrl":2698,"material":25,"size":2699,"collection":277,"collections":2700,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":67},219459,"chun-geng-tu-lu-zhi-219459","春耕图","陆治","枯木疏枝间，春信暗生。农人执缰牵牛，缓步林间，牛蹄轻踏新萌的草色，似触到泥土苏醒的温度。前景孩童与幼畜嬉戏，憨态跃然纸上，为静谧春郊注入活泼意趣。笔墨简洁雅致，线条勾勒传神，枯树虬枝的苍劲与嫩草的轻软相映，尽显初春田园的质朴生机。画面未着浓艳色彩，却以日常劳作与嬉戏的细节，铺展耕读人家的恬淡岁月，于简淡中藏真趣，于寻常处蕴温情，让人沉浸在那份悠然自得的春日氛围里。",[24,54,55,134,25,922,30,7,1217,99,2697],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dc445f537eb335e6d015ab4d279241.jpg","59.4x30厘米",[277],{"id":2702,"slug":2703,"title":2704,"dynasty":72,"author":1021,"museum":131,"description":2705,"tags":2706,"thumbUrl":2709,"material":140,"size":2710,"collection":63,"collections":2711,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":89},219208,"fu-rong-shui-niao-tu-liang-kai-219208","芙蓉水鸟图","萧瑟水岸，枯树疏斜如铁线横陈，枝桠间栖一水鸟，羽翼敛着清寂，目光落向粼粼水面。几瓣芙蓉柔艳，绽在枯梢旁，刚柔相映成趣。水面如镜，水禽悠游，涟漪轻漾；远空淡雾里，飞鸟掠过，影迹渐消。墨色层次分明：淡墨晕染天际与水面，似笼薄纱；枯笔勾枝，见苍劲之态；细笔点花叶，藏雅致之韵。简笔不简意，疏放中含细腻，将宋人的闲远心境融于尺幅。万物自在，清寂里透着生机，仿佛能闻水禽划水轻响，风过枝叶微声，意境悠远，耐人寻味。",[23,24,53,777,25,134,2707,2708,176,7,58,289],"芙蓉","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9624696a3ecaca950aa26973ca863c4.jpg","纵25.1厘米，横25.1厘米",[63],{"id":2713,"slug":2714,"title":2715,"dynasty":172,"author":2716,"museum":316,"description":2717,"tags":2718,"thumbUrl":2722,"material":140,"size":2723,"collection":634,"collections":2724,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":89},218364,"mu-tong-tu-dai-song-218364","牧童图","戴嵩","它描绘了一头牛和一个人，牛很强壮，头很高，用蹄子向前走，男孩拿着一根树枝，骑在牛身上，斜着眼睛向左看，显然是被有趣的东西吸引了。",[53,24,54,56,25,30,922,7,98,99,2719,2720,2721],"唐代风格","动物","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be78322a9eb453ec712a0ab48718e7.jpg","26.40x23",[634],{"id":2726,"slug":2727,"title":2728,"dynasty":72,"author":2729,"museum":114,"description":2730,"tags":2731,"thumbUrl":2734,"material":120,"size":121,"collection":39,"collections":2735,"showCount":2736,"zanCount":11,"manualWeight":11,"mainColor":89},290274,"han-que-shuang-ying-tu-ma-lin-290274","寒鹊双鹰图","马麟","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[24,2732,134,25,344,2733,176,7,31,179,55],"花鸟画","鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91a9ddfc54f74ad80aef86a825a385e.jpg",[],42,{"id":2738,"slug":2739,"title":2740,"dynasty":283,"author":2741,"museum":159,"description":2742,"tags":2743,"thumbUrl":2745,"material":61,"size":2746,"collection":85,"collections":2747,"showCount":2736,"zanCount":11,"manualWeight":11,"mainColor":67},237139,"qiu-jing-shan-shui-zhou-cha-shi-biao-237139","秋景山水轴","查士标","此图描绘秋天江南秀丽的山乡一隅景色，江南的秀丽山景，在秋日晴空中愈显得明媚秀美。画幅远景，崇山叠嶂，峰顶峦石，山顶平台，山头光秃，在山坡或山坳处，仅有稀疏杂树。山脚下一片空蒙。最下端为山石和坡岸，树木稀疏，树叶有些枯黄，呈现出一派深秋景色。画幅右下角为一泓溪水，溪水平静如镜，无丝毫波纹，在溪水上架有一座板桥，将两岸连接。板桥上有位长者策杖远眺，在尽情地观赏这里的山山水水。图的左上方有行书四行，为作者自题五言诗一首，款署：“癸丑九秋画以一如道长兄。查士标。”\n此画是查士标59岁时为友人所作。\n此画作者采用平远构图法，构图高远、严谨，造型虚实相间，近处树木舒展自如，形态历历可见。远处山石叠嶂，刻画精腻；山从枯笔淡墨画出后，稍加皴擦，尤其是山头仅寥寥几笔皴染。杂树稀少，点出了已到深秋时节。树以较湿润的笔墨勾点，施以淡色，有的树木采用点叶、夹叶树法。从此画中可以看出他师法倪瓒的笔法较多，但又都变成自己的笔意，又较云林山水画更具“动”感。此画颇具新意。故他的画受到当时大鉴赏家宋荦的赞赏，称颂查氏是董其昌后一人而已，恽南田也把他与董其昌相提并论。",[24,56,25,27,55,26,31,178,7,2744,78,30,608],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab3340f319cb8ed6f2dc547a11d1de3.jpg","纵179.8厘米，横73.8厘米",[85,86],{"id":2749,"slug":2750,"title":2751,"dynasty":283,"author":422,"museum":114,"description":2752,"tags":2753,"thumbUrl":2754,"material":39,"size":39,"collection":39,"collections":2755,"showCount":2736,"zanCount":310,"manualWeight":11,"mainColor":67},234822,"li-cheng-shan-shui-ye-wang-jian-234822","李成山水页","王鉴(1598年-1677年)，明末清初画家，”四王”之一。\n早年由董其昌亲自传授，董其昌向王鉴表示”学画唯多仿古人”，”时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云:”廉州画出入宋元，士气作家俱备，一时鲜有敌手”。",[24,56,25,304,27,26,7,1133,31,78,33,191,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3dbf852e2a5465f18929e02cd4cae21.jpg",[],{"id":2757,"slug":2758,"title":2759,"dynasty":72,"author":494,"museum":114,"description":2760,"tags":2761,"thumbUrl":2766,"material":39,"size":39,"collection":39,"collections":2767,"showCount":2736,"zanCount":310,"manualWeight":11,"mainColor":89},227641,"cu-ju-tu-ma-yuan-227641","蹴鞠图","在汉代，由于汉高祖刘邦这位“超级球迷”的推行，蹴鞠逐渐发展成为一项非常专业化的运动，皇宫内开始出现专业足球场，即所谓“鞠城”，设有围墙和看台。比赛分两队，双方各有队员十二名，以踢入球门的球数多少来决定胜负，是现代足球的雏形。据说，此后西汉的皇帝如汉武帝刘彻、汉成帝刘骜都酷爱踢球，刘彻踢球时，还令其文学侍从作《蹴鞠赋》助兴。\n\n有比赛就有球星。施耐庵《水浒全传》中描写的那位——由一个市井泼皮逆袭成为殿前都指挥使的高俅，便是宋朝球技高超，经常陪伺宋徽宗踢球的著名球星。此外，宋代还有一批聚集在北宋汴梁城和南宋临安城内的职业球星，他们定期在皇宫蹴鞠宴会上表演踢球，专门靠踢球技艺维持生活，是当时地位较高的职业球星。\n\n南宋时期，宋代的球员还组织了博纳养生杯，相当于今 天的中超联赛。球员们团体，叫做“齐云社”，是专门的蹴鞠组织，这是我国最早的单项运动协会，而其提倡的志诚、温良、尊重、谦让的十个紧要章程，和戒多言、赌博、猖狂、酒色的十个禁戒，也成为我国最早的球队章程雏形。宋代之后，蹴鞠仍流行于贵族与官吏间。清朝建立以后，爱好溜冰的满人还将其与滑冰结合起来，发明了冰上蹴鞠的花样运动形式。直到1863年，现代足球运动在英国诞生，揭开了足球发展的又一历史篇章。",[23,24,2762,25,2763,2764,7,2765],"人物画","蹴鞠","古代体育运动","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1057c9ef70fd3d2f2396ceb9de5bc8f.jpg",[],{"id":2769,"slug":2770,"title":1194,"dynasty":48,"author":1741,"museum":131,"description":1742,"tags":2771,"thumbUrl":2772,"material":56,"size":2773,"collection":85,"collections":2774,"showCount":2736,"zanCount":11,"manualWeight":11,"mainColor":67},221789,"shan-shui-zhou-cao-zhi-bai-221789",[23,24,54,55,56,27,26,7,474,31,178,57,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 80x27.8公分、全幅 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Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[2886,2887,377,177,2888,562,7,982,2889,2111,2890,2891,178,305,2892,2893,2894,2895,2368,2896],"印象派","油画","水面倒影","岸边","天空","波光","光影捕捉","笔触灵动","色彩晕染","冬日景象","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3fb37de0bc5ea5233835f6f34ef48.jpg","油画精选",[2898],{"id":2901,"slug":2902,"title":1194,"dynasty":283,"author":2903,"museum":114,"description":2904,"tags":2905,"thumbUrl":2906,"material":39,"size":39,"collection":39,"collections":2907,"showCount":2877,"zanCount":310,"manualWeight":11,"mainColor":67},224218,"shan-shui-zhou-wu-chang-shuo-224218","吴昌硕","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[23,24,55,56,25,27,54,26,78,33,32,7,321,31,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":2909,"slug":2910,"title":1020,"dynasty":48,"author":2911,"museum":240,"description":2912,"tags":2913,"thumbUrl":2914,"material":2915,"size":2916,"collection":85,"collections":2917,"showCount":2877,"zanCount":310,"manualWeight":11,"mainColor":89},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","姚廷美","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,24,825,27,25,534,31,7,536,78,1094,178,1095,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","纸本，水墨","98.1× 54cm",[85,277],{"id":2919,"slug":2920,"title":2921,"dynasty":18,"author":2187,"museum":2451,"description":2922,"tags":2923,"thumbUrl":2924,"material":140,"size":2925,"collection":85,"collections":2926,"showCount":2877,"zanCount":11,"manualWeight":11,"mainColor":89},219941,"han-jiang-du-diao-tu-zhu-duan-219941","寒江独钓图","朱端，是以粗放笔墨为特色的浙派后期代表性画家之一，其山水师法戴进等浙派早期名家，后溯源两宋，尤其马夏画法为重，本图是以雪景山水作品，水墨绢本，略带淡彩，有明显梁楷、牧溪笔意，构图空旷，笔意悠远，体现作者内心渴望的一种寂静与禅意。此作曾为曼殊院旧蔵品，现存于东京国立博物馆。",[23,24,53,54,55,56,27,26,29,509,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e54c1695abeb8054da50fc4026f2a3.jpg","171.9×109.0cm",[85],{"id":2928,"slug":2929,"title":580,"dynasty":72,"author":641,"museum":114,"description":2930,"tags":2931,"thumbUrl":2933,"material":120,"size":121,"collection":39,"collections":2934,"showCount":2935,"zanCount":11,"manualWeight":11,"mainColor":67},290058,"ba-qiao-feng-xue-tu-xia-gui-290058","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[53,24,54,55,56,26,27,78,117,7,77,711,30,2932,256,98],"风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg",[],39,{"id":2937,"slug":2938,"title":1020,"dynasty":72,"author":158,"museum":114,"description":1081,"tags":2939,"thumbUrl":2940,"material":120,"size":121,"collection":39,"collections":2941,"showCount":2935,"zanCount":11,"manualWeight":11,"mainColor":89},289446,"xue-shan-xing-lv-tu-guo-xi-289446",[23,24,825,56,27,179,534,7,79,191,1094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a739ad33a1160112ff9c10479fca563.jpg",[],{"id":2943,"slug":2944,"title":2945,"dynasty":48,"author":2450,"museum":114,"description":2946,"tags":2947,"thumbUrl":2948,"material":120,"size":121,"collection":39,"collections":2949,"showCount":2935,"zanCount":310,"manualWeight":11,"mainColor":89},289347,"gu-mu-han-ya-tu-luo-zhi-chuan-289347","古木寒鸦图","罗稚川 江西临川人。元代著名画家。生卒年不详，大致生活于元代前期。\n生卒年不详，大致生活于元代前期。据元代虞集（1272-1348）《空山歌》载，他于“弱冠”之年，曾见罗稚川“挥翰甚风流”，从虞氏生年（1272）下推，大约在1292年时罗稚川尚在世。虞集记载了罗氏早年生涯：“忆昔侍郎镇成都，将佐盈庭宾客趋；锦官城外笳鼓发，驷马桥边高盖车。”据此，罗稚川曾是南宋时镇守四川成都的年轻将领。理宗端平三年（1236）金兵陷成都，特别是宋亡，彻底改变了他的人生道路，他开始了隐居生活。宋亡，入元不仕，以诗画自娱。",[24,56,26,7,176,179,414,55,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29982bf2593c2e7d2d3c6f8160d10cb9.jpg",[],{"id":2951,"slug":2952,"title":1927,"dynasty":72,"author":1928,"museum":114,"description":1929,"tags":2953,"thumbUrl":2954,"material":120,"size":121,"collection":39,"collections":2955,"showCount":2935,"zanCount":11,"manualWeight":11,"mainColor":89},288950,"xi-shan-xing-lv-tu-zhu-rui-288950",[24,825,56,27,179,117,7,31,231,921,1094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5e368d045f07f690c0d3294e3aae4.jpg",[],{"id":2957,"slug":2958,"title":2959,"dynasty":18,"author":628,"museum":20,"description":2960,"tags":2961,"thumbUrl":2964,"material":39,"size":39,"collection":39,"collections":2965,"showCount":2935,"zanCount":310,"manualWeight":11,"mainColor":89},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,54,55,134,25,149,30,2068,2962,7,35,2963,31,178,59],"侍从","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":2967,"slug":2968,"title":2969,"dynasty":72,"author":2970,"museum":114,"description":2971,"tags":2972,"thumbUrl":2973,"material":39,"size":39,"collection":39,"collections":2974,"showCount":2935,"zanCount":11,"manualWeight":11,"mainColor":89},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?",[23,24,54,162,56,27,26,743,178,800,177,29,176,7,57,389,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":2976,"slug":2977,"title":2978,"dynasty":18,"author":2979,"museum":131,"description":2980,"tags":2981,"thumbUrl":2982,"material":39,"size":2983,"collection":85,"collections":2984,"showCount":2935,"zanCount":11,"manualWeight":11,"mainColor":67},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,54,304,25,56,26,27,78,33,7,321,2511,31,536,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[85,277],{"id":2986,"slug":2987,"title":2988,"dynasty":283,"author":2989,"museum":131,"description":2990,"tags":2991,"thumbUrl":2992,"material":307,"size":39,"collection":634,"collections":2993,"showCount":2935,"zanCount":11,"manualWeight":11,"mainColor":67},219440,"gao-xian-yu-yin-tu-zhou-jin-ting-biao-219440","高贤遇隐图轴","金廷标","枯木虬枝如铁，皴笔勾勒出岁寒之姿；野径蜿蜒若带，淡墨晕染出郊原之旷。士人凭树而立，衣袂飘举间神态悠然，目光轻落向田间劳作的身影；农夫戴笠荷锄，躬身耕耘时动作朴拙，身影与苍茫大地相融。笔墨于细节处见真章：树皮的纹理、土地的肌理、衣褶的流转，皆以细腻线条与层次墨色铺陈。贤士与隐者的相遇，似无意却藏深意——尘嚣之外，静观与躬耕皆是心境之选。画面简淡清雅，将超脱世俗的悠然意趣凝于方寸，尽显文人画的韵致与哲思。",[24,54,55,134,27,30,7,117,33,509,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddd877b675099d48ee98845a7533715.jpg",[634],{"id":2995,"slug":2996,"title":2997,"dynasty":283,"author":2998,"museum":50,"description":2999,"tags":3000,"thumbUrl":3001,"material":140,"size":3002,"collection":634,"collections":3003,"showCount":2935,"zanCount":310,"manualWeight":11,"mainColor":67},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[24,825,55,56,25,27,31,79,33,29,32,321,7,608,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 厘米",[634,85],{"id":3005,"slug":3006,"title":3007,"dynasty":48,"author":3008,"museum":131,"description":3009,"tags":3010,"thumbUrl":3011,"material":103,"size":39,"collection":85,"collections":3012,"showCount":2935,"zanCount":310,"manualWeight":11,"mainColor":67},218741,"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","张雨","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[23,24,54,56,25,27,26,179,7,31,800,413,608,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[85],{"id":3014,"slug":3015,"title":3016,"dynasty":283,"author":2903,"museum":114,"description":3017,"tags":3018,"thumbUrl":3022,"material":120,"size":121,"collection":39,"collections":3023,"showCount":3024,"zanCount":310,"manualWeight":11,"mainColor":67},289901,"song-bai-tu-tu-li-zhou-wu-chang-shuo-289901","松柏图图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,24,55,25,56,268,54,3019,3020,7,3021,99],"怪石","水仙","红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56dfc2b40298c3e1ad369a191abc33c.jpg",[],38,{"id":3026,"slug":3027,"title":3028,"dynasty":112,"author":483,"museum":131,"description":3029,"tags":3030,"thumbUrl":3031,"material":120,"size":3032,"collection":39,"collections":3033,"showCount":3024,"zanCount":11,"manualWeight":11,"mainColor":89},289894,"xi-shan-lin-sou-tu-ju-ran-289894","溪山林薮图","此画以 “近观式”取景,画中景物填满绢布。高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。此画前景的土坡芦苇及平远溪谷均与现传董源画作相似,但远景采用高远构图的主山所造成类似北宋初年“雄伟”气势的作风,已是巨然深受华北山水画风影响的结果。因此，巨然的个人画风实为融合南北两地的景观,进而表现出一种秀丽与宏观兼备的视觉美感。",[24,53,56,26,55,27,7,33,230,1237,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92da5c8f669d3b47216419029f0aafd7.jpg","221.3x119.7",[],{"id":3035,"slug":3036,"title":314,"dynasty":72,"author":1021,"museum":114,"description":3037,"tags":3038,"thumbUrl":3039,"material":120,"size":121,"collection":39,"collections":3040,"showCount":3024,"zanCount":310,"manualWeight":11,"mainColor":89},288537,"xue-jing-shan-shui-tu-liang-kai-288537","此图描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。在画幅左下角寒溪边缘有“梁楷”的落款。",[23,24,53,56,26,55,179,922,30,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4256a748fc84359256c2b38ef594ca2.jpg",[],{"id":3042,"slug":3043,"title":570,"dynasty":72,"author":571,"museum":114,"description":3044,"tags":3045,"thumbUrl":3047,"material":120,"size":121,"collection":39,"collections":3048,"showCount":3024,"zanCount":235,"manualWeight":11,"mainColor":89},288323,"xue-shu-han-qin-tu-li-di-288323","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。",[23,53,24,55,134,25,268,176,7,101,179,3046],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da25639e6a0aec09bce05ff5476054f.jpg",[],{"id":3050,"slug":3051,"title":3052,"dynasty":283,"author":2595,"museum":114,"description":3053,"tags":3054,"thumbUrl":3056,"material":120,"size":121,"collection":39,"collections":3057,"showCount":3024,"zanCount":11,"manualWeight":11,"mainColor":89},287746,"lin-quan-gao-yin-tu-dai-ben-xiao-287746","林泉高隐图","戴本孝（1621－1691），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代画家。",[24,53,56,55,26,30,321,7,33,31,98,99,27,3055],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936e6c157d246e78b89fdcc3c590faef.jpg",[],{"id":3059,"slug":3060,"title":3061,"dynasty":2882,"author":3062,"museum":114,"description":3063,"tags":3064,"thumbUrl":3065,"material":120,"size":121,"collection":85,"collections":3066,"showCount":3024,"zanCount":11,"manualWeight":11,"mainColor":89},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 四季山水图（冬）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,825,55,27,25,26,31,321,7,32,1133,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[85],{"id":3068,"slug":3069,"title":3070,"dynasty":283,"author":664,"museum":114,"description":3071,"tags":3072,"thumbUrl":3074,"material":39,"size":39,"collection":39,"collections":3075,"showCount":3024,"zanCount":11,"manualWeight":11,"mainColor":67},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,54,162,25,27,26,319,486,100,7,3073,562,191,231,176,79,403,31,608],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":3077,"slug":3078,"title":3079,"dynasty":48,"author":284,"museum":159,"description":3080,"tags":3081,"thumbUrl":3083,"material":511,"size":3084,"collection":83,"collections":3085,"showCount":3024,"zanCount":11,"manualWeight":11,"mainColor":125},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","秋山行旅图","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,24,54,56,25,27,26,230,31,178,7,29,837,3082],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[83,85,86],{"id":3087,"slug":3088,"title":3089,"dynasty":283,"author":956,"museum":131,"description":3090,"tags":3091,"thumbUrl":3092,"material":61,"size":3093,"collection":85,"collections":3094,"showCount":3024,"zanCount":310,"manualWeight":11,"mainColor":67},219441,"xue-pu-gui-fan-tu-zhou-qian-wei-cheng-219441","雪浦归帆图轴","积雪覆岩如素缣裹玉，远峰巍峨耸峙，寒气沁入笔墨肌理。中浦波静似镜，一叶轻舟破寒烟而来，帆影斜掠水面，漾开细碎的清寂。近岸石皴木瘦，寒林疏枝以焦墨勾勒，松针如簇仍带苍劲，间杂几间茅舍隐于崖侧，柴门半掩似待归人。山石用干笔皴擦显其骨，积雪以留白衬其洁，墨色层次淡远如雾笼寒川。天地间尽是清旷气，归帆的暖意却悄悄融于冷寂——笔墨间藏着冬日山水的幽寂与生机，将文人对自然的体察、对烟火的温柔打量，都凝在这素净疏旷的帧幅里。",[24,54,53,55,56,134,27,26,137,29,178,78,33,31,191,7,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf3f03012d111bbabd7ea73ecb7622c.jpg","114.9x64.4",[85],{"id":3096,"slug":3097,"title":3098,"dynasty":72,"author":3099,"museum":114,"description":3100,"tags":3101,"thumbUrl":3103,"material":56,"size":39,"collection":85,"collections":3104,"showCount":3024,"zanCount":310,"manualWeight":11,"mainColor":89},218547,"han-lin-po-zhou-tu-huang-geng-218547","寒林泊舟图","黄庚","虬枝如铁，皴染出雪后寒林的苍劲。石矶覆素，茅舍隐于烟霭间，孤舟横卧岸侧，似待归人。云雾轻笼远岫，留白处漾开清寂。笔致简淡却含韵致，枯笔勾勒的枝桠带着凛冽的诗意。天地间素墨交融，静穆中藏着一丝暖意——或许是窗内的灯影，或许是舟畔的微雪。山风掠过枝梢，与寒林私语，时光在此放缓。素白的雪，墨色的树，朦胧的雾，交织成一幅冬日的静美画卷，让人心生安宁，仿佛能听见舟中茶烟袅袅，与天地同呼吸。",[24,3102,55,27,26,413,7,29,191,179,99],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9b66ef1b1a00835ad849fb37b80a87.jpg",[85],{"id":3106,"slug":3107,"title":3108,"dynasty":18,"author":284,"museum":301,"description":3109,"tags":3110,"thumbUrl":3113,"material":140,"size":3114,"collection":63,"collections":3115,"showCount":3024,"zanCount":11,"manualWeight":11,"mainColor":89},216672,"han-ting-yan-zhu-tu-yi-ming-216672","寒汀雁渚图","画面上画着泥滩，雪白的树枝，上面有三只鸟攥着树枝，摆动着，张着嘴，似乎在一起聊天。下面的两只鸭子似乎对这热闹的场面很着迷，一只鸭子歪着头往上看。",[23,24,54,268,25,134,176,3111,3112,7,179,59],"雁","寒滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d985ffc7d1d78047821ba4d079dffd9.jpg","152x65cm",[63],{"id":3117,"slug":3118,"title":3119,"dynasty":48,"author":3120,"museum":131,"description":3121,"tags":3122,"thumbUrl":3125,"material":193,"size":3126,"collection":39,"collections":3127,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":67},290937,"song-yang-fang-zhen-tu-shang-qi-290937","嵩阳访真图","商琦","商琦：元代画家，字德符，号寿岩，曹州（今山东菏泽市）人。泰定元年官至秘书卿。有精深的文学艺术修养，又以善画受到皇帝赏识，因此他在当时的地位很显赫，几与高克恭齐名。商琦善画山水，《图绘宝鉴》称他师法李成，得用墨法，亦善画墨竹。又有记载说他的山水学董源，善于运用水墨。仁宗曾命他在壁上作山水，不用金朱粉彩，只用水墨，可见他的水墨山水、竹石画在当时堪称一绝。商琦亦是一位壁画能手，曾奉命画嘉禧殿壁，当时许多宫殿、寺院壁画都出自他的手笔。",[53,24,56,55,825,27,7,31,3123,30,3124,98,99,3055],"亭阁","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff360fa2a2eefed06260144de528678fa.jpg","115.9x28.7",[],37,{"id":3130,"slug":3131,"title":1721,"dynasty":72,"author":494,"museum":114,"description":707,"tags":3132,"thumbUrl":3133,"material":120,"size":121,"collection":39,"collections":3134,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":89},288292,"ju-bei-yao-yue-tu-ma-yuan-288292",[23,24,53,825,56,25,7,31,898,30,1626,205,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409082f07a0fc539c1e85e8ea35c4634.jpg",[],{"id":3136,"slug":3137,"title":3138,"dynasty":283,"author":3139,"museum":114,"description":3140,"tags":3141,"thumbUrl":3142,"material":39,"size":39,"collection":85,"collections":3143,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":67},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,54,55,56,27,287,26,78,33,29,191,7,32,31,178,910,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[85],{"id":3145,"slug":3146,"title":3147,"dynasty":283,"author":697,"museum":114,"description":3148,"tags":3149,"thumbUrl":3150,"material":39,"size":3151,"collection":39,"collections":3152,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":67},238030,"hong-ren-shan-shui-tu-ce-hong-ren-238030","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[53,24,54,304,56,27,26,35,33,7,191,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3f0273ba838ad249818da5b0f02d07.jpg","50×36",[],{"id":3154,"slug":3155,"title":3156,"dynasty":283,"author":664,"museum":114,"description":3157,"tags":3158,"thumbUrl":3159,"material":39,"size":39,"collection":63,"collections":3160,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":67},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页","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》。",[24,3102,2855,27,56,176,7,31,33,178,35,99,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[63,86],{"id":3162,"slug":3163,"title":3164,"dynasty":18,"author":3165,"museum":114,"description":3166,"tags":3167,"thumbUrl":3168,"material":39,"size":39,"collection":39,"collections":3169,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":89},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","谢时臣","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[24,54,55,56,27,26,179,321,32,30,7,31,376,3046,1133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":3171,"slug":3172,"title":3173,"dynasty":18,"author":2694,"museum":1257,"description":3174,"tags":3175,"thumbUrl":3176,"material":81,"size":3177,"collection":39,"collections":3178,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":67},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图","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。",[23,53,24,54,304,56,25,27,3020,1056,35,898,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":3180,"slug":3181,"title":3182,"dynasty":283,"author":907,"museum":114,"description":3183,"tags":3184,"thumbUrl":3185,"material":61,"size":39,"collection":39,"collections":3186,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":67},231940,"qiu-shan-tu-kun-can-231940","秋山图","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,53,24,54,162,56,25,27,26,7,31,33,29,377,191,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":3188,"slug":3189,"title":3190,"dynasty":18,"author":2499,"museum":114,"description":3191,"tags":3192,"thumbUrl":3201,"material":39,"size":39,"collection":39,"collections":3202,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":89},228850,"xi-gu-cai-wei-tu-dai-jin-228850","溪谷采薇图","此作用笔苍劲老辣，以高远与平远结合铺展画面。右侧危崖壁立，斧劈皴写出山石方硬峭拔的质感，左侧烟波浩渺，水墨晕染出朦胧烟岚，虚实相映勾勒出山水层次。\n近处枯槎老枝遒劲舒展，茅舍掩映林间，暗含林下幽居的隐逸意趣；中景溪泉蜿蜒汇入平湖，楼阁凌于谷间，添了几分雅致烟火气。远景山峦晕染朦胧，残月悬于淡墨长空，归雁成行掠破清寂，烘托出淡远萧疏的氛围。工写兼备间，将山林隐逸的幽澹之境尽显，兼具院体山水的雄浑笔力与文人画的散淡意趣。",[23,24,825,56,678,3193,3194,7,3195,3196,3197,77,230,3198,176,3055,3199,3200,388],"工写兼备","危崖","茅舍","溪泉","平湖","残月","萧疏淡远","院体山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41db834b0f7a314f221f8d8eb2bfc010.jpg",[],{"id":3204,"slug":3205,"title":3206,"dynasty":172,"author":173,"museum":114,"description":3207,"tags":3208,"thumbUrl":3210,"material":39,"size":39,"collection":39,"collections":3211,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":89},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[23,53,24,54,3209,26,25,27,534,31,7,1133,230],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":3213,"slug":3214,"title":2323,"dynasty":48,"author":1741,"museum":159,"description":3215,"tags":3216,"thumbUrl":3218,"material":244,"size":3219,"collection":85,"collections":3220,"showCount":3128,"zanCount":310,"manualWeight":11,"mainColor":89},221792,"xue-shan-tu-cao-zhi-bai-221792","《雪山图》卷描绘寒冬江岸景色，是沈周山水墨画的代表作。\n曲折的寒江两岸，岩崖逶迤，山峦延绵，老树槎砑，苍松傲然。\n江岸树石间点缀着紧闭门窗的房舍，静守孤舟的渔翁和身着寒装的行人，给画面增添了寒荒萧瑟的氛围。\n山石以老硬简率的笔法勾皴，以秃笔浓墨点苔，形成浓淡交错、疏密有致的韵律。\n这幅画构图宏阔，笔致挺劲凝炼，墨彩豪放雄逸，形成浑厚之势。",[23,24,56,26,55,27,534,230,7,413,31,1133,3217],"孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27e97755cc21cee6f7621a139816eab.jpg","纵97.1厘米，横55.3厘米",[85,86],{"id":3222,"slug":3223,"title":3224,"dynasty":48,"author":3225,"museum":159,"description":3226,"tags":3227,"thumbUrl":3228,"material":455,"size":3229,"collection":85,"collections":3230,"showCount":3128,"zanCount":11,"manualWeight":11,"mainColor":89},221736,"shu-shi-tu-wan-shan-zhao-yuan-221736","树石图纨扇","赵原","图绘疏树坡石，远岫平溪，水天一色。山势平缓，形如窠石。山峦用侧锋勾出轮廓和脉络，再以淡墨加彩皴染，类似层云。树干随写随皴，并用浓墨点疤节，树枝似龙角或凤尾，错落有致。笔法圆秀。构图平远。",[23,24,54,777,56,27,100,320,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d958098ca36462d23e5bfbb73f9ed9.jpg","纵25厘米，横19．7厘米",[85,86],{"id":3232,"slug":3233,"title":3234,"dynasty":72,"author":158,"museum":114,"description":1081,"tags":3235,"thumbUrl":3237,"material":120,"size":121,"collection":39,"collections":3238,"showCount":3239,"zanCount":11,"manualWeight":11,"mainColor":89},290294,"san-song-tu-guo-xi-290294","三松图",[53,24,56,55,3236,7,99,27,26],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd67a22eb483af91386a29d1eed6d454.jpg",[],36,{"id":3241,"slug":3242,"title":3243,"dynasty":72,"author":1021,"museum":1269,"description":3244,"tags":3245,"thumbUrl":3247,"material":81,"size":3248,"collection":39,"collections":3249,"showCount":3239,"zanCount":11,"manualWeight":11,"mainColor":89},221614,"xue-shan-xing-lv-tuan-shan-liang-kai-221614","雪山行旅团扇","画面以大雪覆盖的高山为背景，绘有一位在酷冬严寒之中骑驴的旅人，与南宋马远、夏珪风大量使用留白、仅表现出自然一角的山水画不同，这幅画出色地表现出大自然的博大精深。画面中相对于大雪山显得细微渺小的骑驴人物的精细表现、以及雁群飞过山等画面的各个角落都展现了梁楷的精妙笔法，如实地体现了梁楷作为山水画家的不凡功力。",[23,53,24,777,56,26,137,585,31,7,30,1094,178,179,3246,27],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6642a6a7959b2fdb36f7e5b0ea9b676.jpg","24.3x25.7厘米",[],{"id":3251,"slug":3252,"title":3253,"dynasty":72,"author":315,"museum":131,"description":317,"tags":3254,"thumbUrl":3265,"material":81,"size":3266,"collection":39,"collections":3267,"showCount":3239,"zanCount":11,"manualWeight":11,"mainColor":67},221386,"bao-shan-shi-jing-ce-fan-kuan-221386","包山十景册",[23,24,54,3255,304,56,27,26,28,31,35,191,230,7,59,3256,3257,3258,3259,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朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,54,304,56,25,26,78,191,7,31,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[85,86],{"id":3428,"slug":3429,"title":3430,"dynasty":72,"author":1644,"museum":114,"description":3431,"tags":3432,"thumbUrl":3436,"material":39,"size":39,"collection":39,"collections":3437,"showCount":3391,"zanCount":11,"manualWeight":11,"mainColor":89},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,53,24,54,162,56,27,26,230,743,178,7,1157,403,562,2398,30,3433,3434,3435],"岸坡","秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":3439,"slug":3440,"title":3441,"dynasty":18,"author":3442,"museum":978,"description":3443,"tags":3444,"thumbUrl":3445,"material":193,"size":3446,"collection":85,"collections":3447,"showCount":3391,"zanCount":235,"manualWeight":11,"mainColor":67},219719,"qiu-lin-yuan-xiu-tu-yang-wen-cong-219719","秋林远岫图","杨文骢","此画构图可分远景、中景、近景三段式；远景为重山叠嶂，山峰林立，山间杂木和衰草丛生。山巅烟云缭绕，似与天相连：中景一片广阔的江水，一泓清流，平静如镜，近河岸处，山石露小，近景为坡岸山石，乱石横卧，坡石间树木和杂草丛生，一株株树木，根根枝干挺直而上，枝叶疏密相间，错落有致。若人居之，上可聆听萧萧山风，下可俯观静谧的江水。",[23,24,54,55,56,27,26,178,31,7,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d6d41811a6271aa2a6e27944c864f0.jpg","纵144.5厘米，横55.8厘米",[85],{"id":3449,"slug":3450,"title":3451,"dynasty":283,"author":1621,"museum":240,"description":1622,"tags":3452,"thumbUrl":1628,"material":307,"size":39,"collection":85,"collections":3454,"showCount":3391,"zanCount":11,"manualWeight":11,"mainColor":67},219712,"xiao-yuan-yin-jiu-tu-luo-pin-219712","筱园饮酒图",[24,25,402,56,77,7,31,815,30,178,536,3453,1625],"淡彩",[85],{"id":3456,"slug":3457,"title":3458,"dynasty":72,"author":3459,"museum":131,"description":3460,"tags":3461,"thumbUrl":3462,"material":56,"size":3463,"collection":85,"collections":3464,"showCount":3391,"zanCount":11,"manualWeight":11,"mainColor":89},219357,"xi-qiao-san-bu-zhou-li-gong-lin-219357","溪桥散步轴","李公麟","云雾轻笼远山，层峦叠嶂间隐现沙洲，溪水流淌过平野，小桥横卧其上。近岸枯木疏枝错落，几椽茅舍掩映于林麓，有人影缓步溪畔，似与自然低语。山石以细腻线条勾勒，墨色浓淡相宜，皴擦间显苍劲质感；水面留白处见清浅波纹，愈显空濛。整幅画面虚实相生，远近层次分明，笔墨雅致温润，将文人隐逸的闲适心境与山水之清幽完美契合，尽显自然之趣与人文之韵，宛如一曲无声的田园牧歌，引人沉醉于这份宁静悠远之中。",[24,53,54,55,56,27,26,78,33,178,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4e06587a7f9fc815ef7ad4a35387.jpg","50.4x25.3",[85],{"id":3466,"slug":3467,"title":3468,"dynasty":18,"author":3469,"museum":131,"description":3470,"tags":3471,"thumbUrl":3472,"material":140,"size":3473,"collection":277,"collections":3474,"showCount":3391,"zanCount":310,"manualWeight":11,"mainColor":67},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,54,26,134,25,27,99,319,137,321,7,32,177,78,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[277],{"id":3476,"slug":3477,"title":3478,"dynasty":283,"author":664,"museum":301,"description":665,"tags":3479,"thumbUrl":3481,"material":307,"size":39,"collection":39,"collections":3482,"showCount":3391,"zanCount":11,"manualWeight":11,"mainColor":67},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1",[24,54,304,56,27,667,26,178,800,136,177,57,3480,7,58],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg",[],{"id":3484,"slug":3485,"title":3486,"dynasty":18,"author":94,"museum":114,"description":1846,"tags":3487,"thumbUrl":3489,"material":120,"size":121,"collection":39,"collections":3490,"showCount":3491,"zanCount":11,"manualWeight":11,"mainColor":67},290889,"liu-tang-qi-an-shen-zhou-290889","柳塘埼岸",[24,54,304,56,256,99,26,3488,31,33,7,191,27],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cc443d8b8dfc69213b920a74481d9.jpg",[],33,{"id":3493,"slug":3494,"title":3495,"dynasty":72,"author":1644,"museum":131,"description":3496,"tags":3497,"thumbUrl":3498,"material":103,"size":3499,"collection":86,"collections":3500,"showCount":3491,"zanCount":11,"manualWeight":11,"mainColor":89},290300,"qiao-mu-tu-xu-dao-ning-290300","乔木图","南宋一代的豪纵简硬之笔，虽主要脱胎于李唐，但多少也遥承许道宁的衣钵-《国绘宝鉴》说他：“早年所画俗恶，至中年脱去旧学，稍自检束，行笔简易，风度益著，峰头直皴而下，林木劲硬，自成一家体，至细微处，始人妙理。”《圣朝名画评》渭其画格“所长者二，一林木，二平远，二野水，皆造其妙。”识者以为得李成之气，实际上许道宁在李成基础上自有创造，文同称赞他：“许生虽学李营丘，墨路纵横多自出”。许氏以峰头直皴而下的笔道，画出山势的峭厉瘦硬；以轻灵之笔，画出枯竭的泉水及背后庄严的山脉，令人感受到了强烈的萧条之气。此图以寒林孤秀，树态严凝，展现出林木劲硬的风格。\n许道宁以卖药为主，不直接卖画，有人顾买他的药，必画树石以赠之。这幅可能是其中之一。请看这幅有点怪意的图中右侧的山石，近者显，远者隐。石形棱角突出，石质坚硬；左侧平缓的山坡上，长着几棵秃枝无叶乔木，树枝龙爪型。有两棵并肩相长，树干粗壮挺立，上部摆出动态枝头，扭曲着的躯干，尤如双龙在空中舒展身子，窜向苍茫昊天；中间那棵乔木弯腰弓背，伸展枝头，倾向右侧的岩石，似与远处的那棵乔木交叉重叠。秃枝无叶乔木和光秃无草的山石，这都是隆冬时节的象征。严冬里只有乔木挺立在山岗上，与山石作伴，在接受严冬的考验。这是一幅富有诗意的树石图。此图中乔木落叶而挺拔，山石坚硬而清利，多么像作者峭拔的性格，也是作者的豪放、简硬之笔，在图中得到了充分的体现。",[24,825,56,27,7,3019,55,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02d67bdf8e318cfcd5d74b0eee68b84.jpg","188.6x115",[86],{"id":3502,"slug":3503,"title":999,"dynasty":72,"author":494,"museum":114,"description":3504,"tags":3505,"thumbUrl":3506,"material":120,"size":121,"collection":39,"collections":3507,"showCount":3491,"zanCount":11,"manualWeight":11,"mainColor":89},288430,"xiao-xue-shan-xing-tu-ma-yuan-288430","作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[24,56,825,179,117,7,30,1002,1094,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed436c0d3f62c1b92ca57ca18b61d988.jpg",[],{"id":3509,"slug":3510,"title":3511,"dynasty":18,"author":284,"museum":114,"description":3512,"tags":3513,"thumbUrl":3514,"material":39,"size":39,"collection":39,"collections":3515,"showCount":3491,"zanCount":310,"manualWeight":11,"mainColor":67},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[23,24,54,162,56,26,7,35,191,27,256,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":3517,"slug":3518,"title":3519,"dynasty":18,"author":3520,"museum":114,"description":3521,"tags":3522,"thumbUrl":3523,"material":39,"size":39,"collection":39,"collections":3524,"showCount":3491,"zanCount":11,"manualWeight":11,"mainColor":67},228309,"xi-hu-xue-jing-tu-ye-xiang-sheng-mo-228309","西湖雪景图页","项圣谟","此作用平远视角铺展冬湖雪景，以留白衬出天地间皑皑素色，淡墨晕染远山，如笼薄纱，隐于空濛水雾之中。湖面浩渺空寂，偶有汀岸错落，几株枯木虬枝遒劲，疏朗挺立，暗合冬日萧寒之气，岸边渔村屋舍星点，愈显荒寒清寂。\n\n笔墨简澹克制，以淡墨轻皴轻染，将雪意融于留白与浅墨之间，意境幽远孤清。四周题跋环绕，诗画相生，文人雅趣盎然，将冬雪西湖的静穆萧疏尽数铺陈，尽显幽澹雅致的画中深意，寄寓着画者清雅出尘的襟怀。",[24,56,26,304,27,319,486,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd439ec8a7babbccd8ad0d1aaed0089f3.jpg",[],{"id":3526,"slug":3527,"title":3528,"dynasty":18,"author":628,"museum":114,"description":3529,"tags":3530,"thumbUrl":3531,"material":39,"size":39,"collection":39,"collections":3532,"showCount":3491,"zanCount":11,"manualWeight":11,"mainColor":89},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[23,24,54,55,848,134,149,25,30,35,7,321,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":3534,"slug":3535,"title":3536,"dynasty":48,"author":3537,"museum":114,"description":3538,"tags":3539,"thumbUrl":3542,"material":39,"size":39,"collection":39,"collections":3543,"showCount":3491,"zanCount":11,"manualWeight":11,"mainColor":89},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","李士行","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[23,24,54,53,55,56,27,26,3540,3541,31,33,7],"乔木","清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":3545,"slug":3546,"title":3547,"dynasty":283,"author":3548,"museum":131,"description":3549,"tags":3550,"thumbUrl":3551,"material":193,"size":3552,"collection":85,"collections":3553,"showCount":3491,"zanCount":11,"manualWeight":11,"mainColor":67},219482,"xi-qiao-lin-ying-tu-zhou-huang-ding-219482","溪桥林影图轴","黄鼎","这幅画描绘了一座横跨小溪的险桥，杂树相互依偎，远处山峰突出。 在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 所到之处，山水之形",[24,55,56,26,78,31,608,178,7,27,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11da83fc8e3ec6b101ff501d2461042.jpg","118.5x38.9",[85],{"id":3555,"slug":3556,"title":3557,"dynasty":48,"author":3396,"museum":131,"description":3558,"tags":3559,"thumbUrl":3560,"material":81,"size":39,"collection":85,"collections":3561,"showCount":3491,"zanCount":11,"manualWeight":11,"mainColor":67},218767,"xue-shan-ce-jian-tu-tang-di-218767","雪山策蹇图","寒林雪景徐徐铺展，积雪如凝玉覆于峰峦石矶，枯树虬枝盘曲，骨力尽显。山石以斧劈皴与披麻皴交错，淡墨晕染间，雪的厚重与石的坚劲相融。策蹇人衣袂轻扬，缓行于冰冽天地，渺小身影衬出旷远意境。笔墨细腻处藏文人雅致，简淡中见苍劲力道，寒寂氛围里暗蕴生机。整幅画将雪的清寂、树的孤挺、人的从容凝成一瞬，尽显元人山水空灵意韵。观者仿佛闻风雪低语，触冬日清寒，感旅人独行的淡远心境，于静谧中品得那份超脱尘嚣的悠然。",[23,53,24,54,56,25,27,26,534,7,31,30,585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cb3342fada7f0c20d0e996bc177960.jpg",[85],{"id":3563,"slug":3564,"title":3565,"dynasty":72,"author":73,"museum":114,"description":2066,"tags":3566,"thumbUrl":3569,"material":120,"size":121,"collection":39,"collections":3570,"showCount":3571,"zanCount":310,"manualWeight":11,"mainColor":89},289457,"gui-yu-tu-li-cheng-289457","归渔图",[777,24,825,25,27,7,375,33,29,179,3567,3568],"归渔","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452eb3b75c778a86f0bc37c9d3e801fd.jpg",[],32,{"id":3573,"slug":3574,"title":3575,"dynasty":72,"author":571,"museum":114,"description":3576,"tags":3577,"thumbUrl":3581,"material":120,"size":121,"collection":39,"collections":3582,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":89},288953,"xue-zhong-gui-mu-tu-1-li-di-288953","雪中归牧图-1","此图描绘白雪皑皑的寒冬，牧牛人带着猎物归家的情景。牧牛人蜷缩着身子以御寒风，人与牛的动态准确生动，树石山坡的笔墨变化微妙，设色也雅润柔和。虽为小品，但很好地表现出雪后空疏静谧的景色。",[24,53,56,134,179,7,922,1399,3578,3579,3580],"郊野","清冷","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27a7f73a99fbbd7f13c2bda57a05846.jpg",[],{"id":3584,"slug":3585,"title":3586,"dynasty":283,"author":858,"museum":114,"description":1146,"tags":3587,"thumbUrl":3589,"material":120,"size":121,"collection":39,"collections":3590,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":67},288176,"luo-han-tu-zhou-si-tiao-ping-shi-tao-288176","罗汉图轴四条屏",[23,24,55,56,149,30,848,3588,7,31,99],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c84d5e6a7fd73e848716f9d8934ef5.jpg",[],{"id":3592,"slug":3593,"title":3594,"dynasty":18,"author":3595,"museum":159,"description":3596,"tags":3597,"thumbUrl":3599,"material":61,"size":3600,"collection":85,"collections":3601,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":89},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。”",[24,54,55,56,27,388,26,178,191,2896,31,7,57,389,3598,321,608],"平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 宽32.5 cm",[85],{"id":3603,"slug":3604,"title":3605,"dynasty":283,"author":2998,"museum":114,"description":3606,"tags":3607,"thumbUrl":3608,"material":39,"size":39,"collection":39,"collections":3609,"showCount":3571,"zanCount":310,"manualWeight":11,"mainColor":89},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[53,24,54,55,25,27,26,319,486,100,2016,32,29,7,403,118,31,1237,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":3611,"slug":3612,"title":3613,"dynasty":18,"author":94,"museum":114,"description":3614,"tags":3615,"thumbUrl":3616,"material":39,"size":39,"collection":39,"collections":3617,"showCount":3571,"zanCount":235,"manualWeight":11,"mainColor":89},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,24,54,55,56,26,7,78,32,31,27,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":3619,"slug":3620,"title":3621,"dynasty":2882,"author":3622,"museum":114,"description":3623,"tags":3624,"thumbUrl":3634,"material":120,"size":121,"collection":2898,"collections":3635,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":67},225781,"montmartre-windmills-and-allotments-march-april-fan-gao-225781","Montmartre windmills and allotments (March - April )","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[2887,3625,3626,25,3627,3628,677,32,3629,178,30,3630,3631,7,3632,3633],"后印象派","短笔触","风车","田地","栅栏","山丘","菜园","棚屋","劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac7eead247db41f11dfde4151e11689.jpg",[2898],{"id":3637,"slug":3638,"title":3639,"dynasty":283,"author":956,"museum":131,"description":3640,"tags":3641,"thumbUrl":3642,"material":61,"size":3643,"collection":85,"collections":3644,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":67},222692,"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,54,55,56,26,27,319,137,7,78,33,176,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d1491f.jpg","80*180cm",[85,86],{"id":3646,"slug":3647,"title":3565,"dynasty":72,"author":1021,"museum":2207,"description":3648,"tags":3649,"thumbUrl":3650,"material":81,"size":3651,"collection":39,"collections":3652,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":89},221604,"gui-yu-tu-liang-kai-221604","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。",[23,53,24,56,25,26,7,176,34,29,509,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":3654,"slug":3655,"title":3656,"dynasty":883,"author":3657,"museum":3658,"description":3659,"tags":3660,"thumbUrl":3661,"material":39,"size":39,"collection":39,"collections":3662,"showCount":3571,"zanCount":310,"manualWeight":11,"mainColor":67},220536,"chen-qu-xu-bei-hong-220536","晨曲","徐悲鸿","中央美术学院美术馆","枯枝虬曲交错，浓淡墨色晕染出苍劲质感，萧索冬意铺满纸面。数十只麻雀错落栖于枝桠，姿态灵动各异：有的昂首翘望谛听晨风，有的两两依偎喁喁私语，也有敛羽静立，沉浸在晨间清寂之中。\n\n以水墨写意之法寥寥定格群雀憨态灵趣，淡墨留白的空阔背景，更衬出雀鸟的鲜活生机，静中藏动，将冬晨的清寒和小生命的蓬勃揉作一处。于枯淡笔墨间晕开暖意，把日常晨间的鲜活意趣尽显，在留白与笔意里藏着温柔生机，让萧瑟冬景晕染出盎然生气。",[24,56,25,343,268,7,176,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0320e8ab6ec6712d5beadf2f7573390c.jpg",[],{"id":3664,"slug":3665,"title":3666,"dynasty":283,"author":3667,"museum":131,"description":3668,"tags":3669,"thumbUrl":3671,"material":61,"size":3672,"collection":85,"collections":3673,"showCount":3571,"zanCount":3674,"manualWeight":11,"mainColor":89},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[53,24,54,55,56,27,26,3670,179,608,59,7,403,968],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[85],7,{"id":3676,"slug":3677,"title":3678,"dynasty":48,"author":49,"museum":114,"description":1012,"tags":3679,"thumbUrl":3680,"material":120,"size":121,"collection":39,"collections":3681,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":67},290265,"you-bo-tan-hua-tu-ke-luo-ban-ni-zan-290265","忧钵昙花图（珂罗版）",[23,53,24,56,26,55,35,7,191,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eeb3b9939ce2b4038601b054b21059d.jpg",[],31,{"id":3684,"slug":3685,"title":3686,"dynasty":72,"author":1331,"museum":114,"description":3687,"tags":3688,"thumbUrl":3691,"material":120,"size":121,"collection":39,"collections":3692,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":125},288967,"wen-ji-gui-han-tu-chen-ju-zhong-288967","文姬归汉图","并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[53,24,2762,25,134,585,7,117,3689,3690],"文姬归汉","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89049e0a1da7eac74bb7a83d09751b8.jpg",[],{"id":3694,"slug":3695,"title":3696,"dynasty":283,"author":300,"museum":114,"description":3697,"tags":3698,"thumbUrl":3700,"material":120,"size":121,"collection":39,"collections":3701,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":67},288639,"fang-gu-shan-shui-bi-yi-tu-zhu-da-288639","仿古山水笔意图","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。",[23,53,24,56,26,7,35,98,99,27,667,3699],"萧索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed8ac0cc4a781ba5d5a5a4e3455407d.jpg",[],{"id":3703,"slug":3704,"title":3705,"dynasty":18,"author":3706,"museum":114,"description":3707,"tags":3708,"thumbUrl":3709,"material":39,"size":39,"collection":85,"collections":3710,"showCount":3682,"zanCount":310,"manualWeight":11,"mainColor":67},237783,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-ling-237783","诸家山水册-山水册页","王允龄","字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。",[24,56,27,304,26,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17385c48ba87b031b3a6ce97cde0021f.jpg",[85],{"id":3712,"slug":3713,"title":3714,"dynasty":283,"author":664,"museum":114,"description":3157,"tags":3715,"thumbUrl":3716,"material":39,"size":39,"collection":39,"collections":3717,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":67},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585","王翚仿古山水册",[54,24,56,27,2855,667,26,319,486,100,7,78,32,136,403,376,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":3719,"slug":3720,"title":3721,"dynasty":283,"author":991,"museum":114,"description":3722,"tags":3723,"thumbUrl":3725,"material":39,"size":39,"collection":85,"collections":3726,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":67},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,54,55,56,27,26,319,100,29,486,59,7,3724,58,1059,934],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[85,86],{"id":3728,"slug":3729,"title":3730,"dynasty":18,"author":330,"museum":131,"description":3731,"tags":3732,"thumbUrl":3733,"material":61,"size":39,"collection":39,"collections":3734,"showCount":3682,"zanCount":310,"manualWeight":11,"mainColor":67},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[24,54,304,287,27,25,26,7,321,31,33,99,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":3736,"slug":3737,"title":3738,"dynasty":48,"author":1741,"museum":131,"description":3739,"tags":3740,"thumbUrl":3741,"material":193,"size":3742,"collection":39,"collections":3743,"showCount":3682,"zanCount":310,"manualWeight":11,"mainColor":67},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[24,3102,825,55,27,99,3670,179,79,178,32,230,58,7,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":3745,"slug":3746,"title":2594,"dynasty":283,"author":3747,"museum":114,"description":3748,"tags":3749,"thumbUrl":3750,"material":120,"size":121,"collection":39,"collections":3751,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":67},230357,"shan-shui-ce-ye-fan-qi-230357","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[53,24,54,304,25,27,26,35,7,178,33,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":3753,"slug":3754,"title":3755,"dynasty":48,"author":284,"museum":159,"description":3756,"tags":3757,"thumbUrl":3758,"material":81,"size":3759,"collection":83,"collections":3760,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":89},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,55,56,27,25,26,534,7,79,31,608,32,1094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[83],{"id":3762,"slug":3763,"title":3764,"dynasty":18,"author":1268,"museum":131,"description":3765,"tags":3766,"thumbUrl":3768,"material":193,"size":3769,"collection":63,"collections":3770,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":67},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[23,24,55,268,134,56,25,3767,179,7,474,31,99,135],"山鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[63,277],{"id":3772,"slug":3773,"title":3182,"dynasty":283,"author":3774,"museum":316,"description":3775,"tags":3776,"thumbUrl":3777,"material":307,"size":3778,"collection":85,"collections":3779,"showCount":3682,"zanCount":11,"manualWeight":11,"mainColor":67},219855,"qiu-shan-tu-xiao-yun-cong-219855","萧云从","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。",[23,24,54,162,25,26,27,98,256,99,30,77,178,31,33,191,321,7,2744,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[85],{"id":3781,"slug":3782,"title":314,"dynasty":283,"author":1918,"museum":301,"description":1919,"tags":3783,"thumbUrl":3784,"material":140,"size":3785,"collection":85,"collections":3786,"showCount":3682,"zanCount":310,"manualWeight":11,"mainColor":89},217881,"xue-jing-shan-shui-tu-li-yin-217881",[24,25,55,26,179,7,177,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46c723cdf9a5cd63c6d3ab518013086.jpg","155.8x71.2cm",[85],{"id":3788,"slug":3789,"title":3790,"dynasty":18,"author":1245,"museum":131,"description":3791,"tags":3792,"thumbUrl":3793,"material":193,"size":3794,"collection":39,"collections":3795,"showCount":3796,"zanCount":11,"manualWeight":11,"mainColor":67},290842,"xi-zhou-hua-jiu-tu-zhou-tang-yin-290842","西洲话旧图轴","该画作山水、人物、花鸟，画中山重岭复，以小斧劈皴为之，雄伟险峻，而笔墨细秀，布局疏朗，风格秀逸清俊。",[24,55,56,98,256,99,7,35,191,30,101,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a8caa51702d0723ff578a2a8a49be70.jpg","110.7x52.3",[],30,{"id":3798,"slug":3799,"title":3800,"dynasty":48,"author":3801,"museum":114,"description":3802,"tags":3803,"thumbUrl":3805,"material":120,"size":121,"collection":39,"collections":3806,"showCount":3796,"zanCount":11,"manualWeight":11,"mainColor":89},289557,"qiu-lin-chui-diao-tu-zhu-ze-min-289557","秋林垂钓图","朱泽民","此作用边角构图，将虬曲苍劲的秋林置于右畔，枯枝干皴擦点染兼用，残叶附枝尽显清秋萧索，古木盘根错节，苍浑老辣尽显笔墨力道。左侧湖面留白虚旷，一叶扁舟静浮其上，渔人垂竿独钓，身影简淡幽寂。淡墨晕开烟水空蒙，虚实相映间铺展出清远荒寒的意境。\n\n画面题诗与景致互为生发，暗合文人隐逸寄怀的意趣，以简淡笔墨写尽萧散闲远之致，将避世丘壑、寄情烟水的心境藏在荒疏秋景中，尽显元画尚意之风，淡远空灵间余韵悠长。",[24,777,56,26,29,2404,3804,7,34,509],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52156813f428828135eb7b9e71828e15.jpg",[],{"id":3808,"slug":3809,"title":3810,"dynasty":283,"author":2998,"museum":114,"description":3811,"tags":3812,"thumbUrl":3813,"material":120,"size":121,"collection":39,"collections":3814,"showCount":3796,"zanCount":11,"manualWeight":11,"mainColor":89},288447,"jiang-xing-tu-gao-cen-288447","江行图","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,24,26,56,25,27,7,31,1157,29,375,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],{"id":3816,"slug":3817,"title":3818,"dynasty":283,"author":3819,"museum":159,"description":3820,"tags":3821,"thumbUrl":3822,"material":37,"size":39,"collection":85,"collections":3823,"showCount":3796,"zanCount":11,"manualWeight":11,"mainColor":67},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[24,54,304,25,134,256,99,26,179,31,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[85,277],{"id":3825,"slug":3826,"title":3827,"dynasty":283,"author":3747,"museum":114,"description":3828,"tags":3829,"thumbUrl":3831,"material":39,"size":39,"collection":39,"collections":3832,"showCount":3796,"zanCount":11,"manualWeight":11,"mainColor":89},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,54,53,55,25,26,79,78,33,7,3830,31,3082,30,27],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":3834,"slug":3835,"title":3836,"dynasty":18,"author":3837,"museum":131,"description":3838,"tags":3839,"thumbUrl":3840,"material":193,"size":3841,"collection":63,"collections":3842,"showCount":3796,"zanCount":11,"manualWeight":11,"mainColor":67},219512,"han-lin-qu-yu-tu-yao-shou-219512","寒林鸲鹆图","姚绶","表现了水边奇石及枯木丛篁中的景象。",[24,56,55,343,98,99,268,7,345,474,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc50daeb2e5949a3519195445d994f7.jpg","纵116.7厘米横29.6厘米",[63],{"id":3844,"slug":3845,"title":3846,"dynasty":18,"author":3847,"museum":316,"description":3848,"tags":3849,"thumbUrl":3851,"material":140,"size":3852,"collection":85,"collections":3853,"showCount":3796,"zanCount":11,"manualWeight":11,"mainColor":89},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,24,54,55,56,27,26,1573,1094,31,178,7,79,78,33,3850,32],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[85],{"id":3855,"slug":3856,"title":3857,"dynasty":18,"author":284,"museum":316,"description":2548,"tags":3858,"thumbUrl":3859,"material":307,"size":39,"collection":39,"collections":3860,"showCount":3796,"zanCount":11,"manualWeight":11,"mainColor":67},217950,"ming-ren-shan-shui-hua-ce-wu-yi-ming-217950","明人山水画册(五)",[23,24,56,27,304,26,7,33,31,30,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7014b1cc71d2ca5aa50dfaec6b52598f.jpg",[],{"id":3862,"slug":3863,"title":3864,"dynasty":18,"author":330,"museum":131,"description":3865,"tags":3866,"thumbUrl":3867,"material":193,"size":3868,"collection":39,"collections":3869,"showCount":3870,"zanCount":310,"manualWeight":11,"mainColor":67},290887,"qiu-lin-shu-wu-tu-zhou-dong-qi-chang-290887","秋林书屋图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,56,825,837,1541,7,321,31,78,33,230,98,99,27,3055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db59da3812da6dde86cc332da23c731.jpg","54.4x58.1",[],29,{"id":3872,"slug":3873,"title":3874,"dynasty":283,"author":858,"museum":114,"description":1146,"tags":3875,"thumbUrl":3876,"material":120,"size":121,"collection":39,"collections":3877,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":67},289909,"ye-se-ce-ye-shi-tao-289909","野色册页",[24,56,2855,99,98,26,176,7,78,30,35,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406cac18541976b3f7edf604d75728e4.jpg",[],{"id":3879,"slug":3880,"title":2175,"dynasty":72,"author":494,"museum":114,"description":707,"tags":3881,"thumbUrl":3882,"material":120,"size":121,"collection":39,"collections":3883,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":89},289804,"han-yan-ji-xue-tu-ma-yuan-289804",[53,24,55,56,26,179,1132,1133,898,321,7,231,30,1626,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f93ef862367b2ca55ea4ca66889a885.jpg",[],{"id":3885,"slug":3886,"title":3887,"dynasty":72,"author":284,"museum":114,"description":3888,"tags":3889,"thumbUrl":3891,"material":120,"size":121,"collection":83,"collections":3892,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":89},289117,"ku-shu-qu-yu-tu-yi-ming-289117","枯树鸜鹆图","此作工致清雅，将深秋野趣凝于尺幅间。墨鸜鹆伫立枯枝之上，乌羽晕染细腻柔润，光泽宛然，白瞳点漆灵动有神，顶间绒簇微扬，利爪紧扣枝桠，静穆中暗含振翅欲飞的机警生气。\n\n旁侧枯木残叶萧疏，淡墨晕染出秋意萧索，叶片脉络隐现，笔墨清简雅致，衬出林间空寂氛围。构图虚实相生，以禽鸟为视觉重心，留白烘托出幽远意境，尽得清隽含蓄之美，将荒寒秋日里的鲜活野趣，定格成静雅悠然的传世韵致。",[53,24,777,134,268,7,176,3890,99],"鸜鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395f8f55e8cca3e74fe9b859b7c20795.jpg",[83],{"id":3894,"slug":3895,"title":3896,"dynasty":48,"author":2450,"museum":114,"description":2946,"tags":3897,"thumbUrl":3898,"material":120,"size":121,"collection":39,"collections":3899,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":89},287595,"xue-jiang-tu-luo-zhi-chuan-287595","雪江图",[23,24,26,56,7,176,179,57,1157,28,3293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],{"id":3901,"slug":3902,"title":3903,"dynasty":283,"author":664,"museum":159,"description":3904,"tags":3905,"thumbUrl":3906,"material":61,"size":39,"collection":85,"collections":3907,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":89},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴","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。",[24,54,55,56,27,26,800,7,176,31,968,57,389,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[85,86],{"id":3909,"slug":3910,"title":3911,"dynasty":72,"author":284,"museum":114,"description":3912,"tags":3913,"thumbUrl":3914,"material":39,"size":39,"collection":39,"collections":3915,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":89},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[53,24,54,777,25,56,26,7,31,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":3917,"slug":3918,"title":3919,"dynasty":72,"author":1308,"museum":114,"description":3920,"tags":3921,"thumbUrl":3924,"material":39,"size":39,"collection":39,"collections":3925,"showCount":3870,"zanCount":310,"manualWeight":11,"mainColor":89},227768,"shan-shui-ye-li-tang-227768","山水页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,54,53,56,27,2855,26,77,29,178,31,305,910,536,57,3480,3922,7,3923],"远景","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":3927,"slug":3928,"title":3929,"dynasty":18,"author":2694,"museum":131,"description":3930,"tags":3931,"thumbUrl":3932,"material":2915,"size":3933,"collection":63,"collections":3934,"showCount":3870,"zanCount":11,"manualWeight":11,"mainColor":67},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,54,55,25,26,78,33,29,7,31,79,176,191,27,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[63,277],{"id":3936,"slug":3937,"title":3938,"dynasty":18,"author":3939,"museum":582,"description":3940,"tags":3941,"thumbUrl":3943,"material":307,"size":3944,"collection":85,"collections":3945,"showCount":3870,"zanCount":310,"manualWeight":11,"mainColor":67},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","秋景山水图","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,162,56,25,26,7,176,800,57,376,35,134,27,178,3942],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[85],{"id":3947,"slug":3948,"title":3949,"dynasty":283,"author":3774,"museum":1983,"description":3950,"tags":3951,"thumbUrl":3952,"material":193,"size":3953,"collection":85,"collections":3954,"showCount":3870,"zanCount":310,"manualWeight":11,"mainColor":67},218112,"xin-an-yi-yun-ce-xiao-yun-cong-shan-shui-xiao-yun-cong-218112","新安逸韵册(萧云从山水)","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",[24,54,304,56,27,26,31,7,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cbb8859bdf0c6370f0ecf6c6f9f55e.jpg","30.6x20.7cm",[85],{"id":3956,"slug":3957,"title":3958,"dynasty":72,"author":494,"museum":131,"description":3959,"tags":3960,"thumbUrl":3961,"material":120,"size":121,"collection":39,"collections":3962,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},290857,"xue-tan-shuang-lu-zhou-ma-yuan-290857","雪滩双鹭轴","雪崖枯枝，芦竹寒汀，滩旁四只白鹭，均做瑟缩之状，寒天的景致，令人有着身临其境的感觉。而浓淡墨色画出的树石、远山和芦草，对比于留白的积雪处，和几不见墨痕的白鹭们，在黑白之间，充分表现出清冷的意趣，达到了画雪得其清的境界。另从岩壁上伸出的枝干，曲折延伸，势如蛟龙升腾游动，这种笔势往下拖垂，形成长而斜向伸出的画枝方法，正是典型的「拖枝马远」风貌。",[24,53,55,56,25,26,268,179,7,1733,1734,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa75c57e47aed948cb8b6beca83ae9f.jpg",[],28,{"id":3965,"slug":3966,"title":3967,"dynasty":283,"author":1517,"museum":131,"description":2795,"tags":3968,"thumbUrl":3969,"material":307,"size":3970,"collection":39,"collections":3971,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},290528,"zhu-shi-ku-cha-tu-zhou-yun-shou-ping-290528","竹石枯槎图轴",[24,55,56,101,7,31,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b53a062749880b1168b4136a30d6c4.jpg","95.1x46.8",[],{"id":3973,"slug":3974,"title":3975,"dynasty":48,"author":1752,"museum":114,"description":3976,"tags":3977,"thumbUrl":3979,"material":120,"size":121,"collection":39,"collections":3980,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":89},290502,"han-lin-zhong-kui-zhou-chen-lin-290502","寒林钟馗轴","绘严寒冬季，树木枝叶疏落，在萧旷之野，身材魁伟的钟馗伫立于林下的坡地上!胸怀中抱有笏板，头戴幞巾，穿宽身袍服，腰系玉带，脚穿皂靴，厂‘袖因风而飘，缩着颈脖，显出寒风凛凛冷意。但形象威严，目睛圆瞪，须髯如戟，炯炯有神，背景为枯树荆柯，宽阔坡陀为枯草所覆盖，斜坡上长有几棵大树，树干挺拔直上，顶天立地：树干上有不少疤结，枝叶疏落，大树下的丛丛荆柯枝干交错，树叶脱落，显示是严寒的冬天季节。作者所描绘一片寒林，枯梢老槎，显得苍劲高古，枝丫相互穿插，虚实、浓淡的处理，都是为了表现寒林的深度，画家利用虚实关系拉大了空间，作者不但在寒林的后面用淡墨画了类似的树木，还以云雾来加强树林的纵深，使人感到寒气逼人、全图笔法简括刚韧，以线描为主，辅以皴染，明显带有南宋画院体风貌。人物造型准确，刻画得生动传神，钟馗的衣纹十分简洁，和周围景物的描绘上又十分准确精到，因而能达到情景交融的境界。这是此画最为成功之处。它在于将钟馗缩脖无颈，一副缩着脖子畏寒的样子跃然纸上，瑟缩着的钟馗和寒林一样都突出一个寒字，相互衬托，加强了作品荒寒气氛。故此画在人物形态神情的刻画及其立意上颇有独到之处。",[24,55,30,56,7,3978,99,413],"钟馗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9242d4dde31567d9c1e594d9288317.jpg",[],{"id":3982,"slug":3983,"title":3984,"dynasty":283,"author":697,"museum":114,"description":3985,"tags":3986,"thumbUrl":3987,"material":120,"size":121,"collection":39,"collections":3988,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},290180,"tao-an-tu-zhou-hong-ren-290180","陶庵图轴","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,24,55,56,26,7,230,32,78,99,27,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],{"id":3990,"slug":3991,"title":129,"dynasty":112,"author":3992,"museum":114,"description":3993,"tags":3994,"thumbUrl":3995,"material":120,"size":121,"collection":39,"collections":3996,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":89},289768,"xue-zhu-wen-qin-tu-huang-quan-289768","黄荃","寒冬的江河畔，两株荒枯的杨柳伫立在突起的白色巨石上。犹如垂钓老叟的柳树，将它细长的枝枒抛向灰蒙的江面。江河上一对水鸭夫妇，远游而至；柳稍枝头上的四只八哥、柳石间几株丛生于的寒梅雪竹，也同为这冬河之畔增添不少的生意。",[24,53,2732,134,179,101,7,176,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d156b3308c499a2296a5d39222e2ff.jpg",[],{"id":3998,"slug":3999,"title":3738,"dynasty":72,"author":73,"museum":114,"description":4000,"tags":4001,"thumbUrl":4002,"material":120,"size":121,"collection":39,"collections":4003,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":89},289726,"qun-feng-xue-ji-tu-li-cheng-289726","表现山高雪密瀑布寒泉，冈阜一亭翼然，左方飘绫上有高士奇题诗，中有“毫端师造化，画史重营丘”句。画上钤有乾隆、嘉庆、宣统等印。李成善于通过用淡墨涂抹，所作雪景，峰峦林层，凡烟支变灭，水石幽涧，树木萧森，山川险易，莫不曲尽其妙。民载中说他的画：“扫千里于咫尺，写万趣于指下”。",[23,24,825,55,56,27,179,3670,31,7,191,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9427553ec2db7f169d0eb61b687360.jpg",[],{"id":4005,"slug":4006,"title":4007,"dynasty":72,"author":2729,"museum":114,"description":4008,"tags":4009,"thumbUrl":4011,"material":120,"size":121,"collection":39,"collections":4012,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},289559,"fang-chun-yu-ji-tu-ma-lin-289559","芳春雨霁图","《芳春雨霁图》描绘荒野平溪，窠石疏林。枝上嫩叶初露，春意浓郁。远方烟霭出没，隐约可见。画中怪石用斧劈皴，老树用严谨的双钩填墨法，树叶用淡褐色点染。全图用笔瘦硬劲峭，构图简括，画风学马远而又有自己的创新，为马麟山水画佳作。",[24,53,54,56,26,7,35,33,4010,99,27],"雨霁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e2fc4358f94b21a58ea7d73e48787d.jpg",[],{"id":4014,"slug":4015,"title":4016,"dynasty":72,"author":571,"museum":114,"description":3576,"tags":4017,"thumbUrl":4019,"material":120,"size":121,"collection":39,"collections":4020,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":89},288952,"xue-zhong-gui-mu-tu-2-li-di-288952","雪中归牧图-2",[24,56,30,922,7,179,4018],"归牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834f83e235421db8fff85457647de683.jpg",[],{"id":4022,"slug":4023,"title":4024,"dynasty":72,"author":1021,"museum":114,"description":4025,"tags":4026,"thumbUrl":4028,"material":120,"size":121,"collection":39,"collections":4029,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":89},288838,"xue-zhan-xing-qi-tu-liang-kai-288838","雪栈行骑图","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。\n技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[23,24,56,26,179,7,230,1094,4027,204],"骏马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7508281f04486f0a2ac32fdec785ce46.jpg",[],{"id":4031,"slug":4032,"title":4033,"dynasty":18,"author":3595,"museum":114,"description":4034,"tags":4035,"thumbUrl":4036,"material":4037,"size":39,"collection":85,"collections":4038,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},237893,"wen-jia-shan-shui-zhou-wen-jia-237893","文嘉山水轴","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。”\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。渴来玉砚池中饮，饱向花笺纸上行。”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（1523年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显",[24,54,55,56,27,26,78,33,191,7,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d146aaec02114ccb269501a7bed23.jpg","轴设色纸本",[85,1587],{"id":4040,"slug":4041,"title":4042,"dynasty":18,"author":4043,"museum":114,"description":4044,"tags":4045,"thumbUrl":4048,"material":39,"size":39,"collection":39,"collections":4049,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","李士达","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,54,55,25,134,27,30,521,78,33,7,32,815,2806,4046,31,178,177,536,4047],"孩童","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":4051,"slug":4052,"title":4053,"dynasty":283,"author":4054,"museum":114,"description":4055,"tags":4056,"thumbUrl":4057,"material":39,"size":39,"collection":39,"collections":4058,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":4059},230116,"shan-shui-ce-12-kai-jian-jiang-230116","山水册12开","渐江","此作以大片留白晕染出空濛烟水，淡墨轻勾远山，嶙峋清癯的峰峦错落排布，简淡皴笔勾勒山石肌理，尽显冷峭疏朗之态。左下角老柳垂丝，依依拂岸，茅舍隐于柳下，愈衬江天寥廓。\n\n江上孤舟缓行，渔翁泛棹，寥寥数笔便点活了空寂水色，于极简中藏着幽远禅意。整幅画笔墨枯淡清逸，舍去繁复描摹，以简驭繁，将水畔的静穆冷逸尽数铺展，萧散淡远，观之如沐清寂江风，引人沉入这份疏旷安闲的烟水诗意中。",[24,54,304,56,27,26,29,7,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b9046f9518a01dd6d6ff08f98e4f8d.jpg",[],"FFFFFF",{"id":4061,"slug":4062,"title":4063,"dynasty":18,"author":284,"museum":114,"description":4064,"tags":4065,"thumbUrl":4066,"material":39,"size":39,"collection":39,"collections":4067,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":89},228822,"qi-ma-shou-lie-tu-yi-ming-228822","骑马狩猎图","画作以塞北秋原为底色，枯木疏枝晕染出荒寒辽远的意境。画面上方白鹤惊飞，一人纵马引弓，箭矢将发，将狩猎的张力拉满；下方猎手们或缓骑四顾，或驻马待命，猎犬伏地静伺，动静相映成趣。设色古雅沉郁，线条朴拙凝练，将游牧出猎的日常瞬间定格。萧瑟荒野呼应骑射英武，糅合边地的苍凉与出猎的野趣，笔意简淡却藏着质朴生机，尽显北国狩猎的自在豪情。",[24,54,25,134,30,585,176,7,2349,26,2348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e0832a905d1084788a315175c5a3cf.jpg",[],{"id":4069,"slug":4070,"title":4071,"dynasty":283,"author":4054,"museum":114,"description":4072,"tags":4073,"thumbUrl":4074,"material":39,"size":39,"collection":39,"collections":4075,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,54,162,56,25,27,287,99,98,26,77,178,321,7,33,29,191,118,522,57,1800,536,78,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":4077,"slug":4078,"title":4079,"dynasty":48,"author":4080,"museum":131,"description":4081,"tags":4082,"thumbUrl":4084,"material":25,"size":4085,"collection":85,"collections":4086,"showCount":3963,"zanCount":310,"manualWeight":11,"mainColor":89},221847,"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","刘贯道","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[23,24,825,55,56,27,1133,31,7,77,743,32,4083,29,58],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[85,86],{"id":4088,"slug":4089,"title":4090,"dynasty":72,"author":284,"museum":4091,"description":4092,"tags":4093,"thumbUrl":181,"material":140,"size":4094,"collection":85,"collections":4095,"showCount":3963,"zanCount":310,"manualWeight":11,"mainColor":89},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,24,162,25,825,27,1133,319,486,7,321,176,29,59,32,99],"纵28.8厘米，横449.3厘米",[85],{"id":4097,"slug":4098,"title":4099,"dynasty":112,"author":483,"museum":131,"description":4100,"tags":4101,"thumbUrl":4104,"material":81,"size":4105,"collection":634,"collections":4106,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},219643,"zhang-li-qiu-shuang-tu-ju-ran-219643","杖藜秋爽图","以淡墨晕染出空蒙远山，烟岚轻笼，将秋意的清寂铺陈开来。近岸老木虬枝枯槎，劲挺中带着萧疏况味，苔点依稀，暗合秋深之态。秋水如镜，不着波澜，将天地的静穆悉数收纳。\n\n独行杖藜之人，彳亍坡岸，似在骋目遥天，与冷寂秋光相融。全幅以水墨写意，笔意松秀苍润，淡墨轻岚间，把秋爽疏阔的林下幽致尽显，带着悠悠山野闲情，观之如身临清秋郊野，沁得满身秋凉清逸。",[53,24,54,304,56,26,30,7,4102,57,2015,837,4103],"秋水","闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fbd8054be9c23123eb7c6689396b7.jpg","23.3x22.7厘米",[634],{"id":4108,"slug":4109,"title":4110,"dynasty":72,"author":494,"museum":131,"description":4111,"tags":4112,"thumbUrl":4113,"material":140,"size":4114,"collection":85,"collections":4115,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":67},218978,"han-xiang-shi-si-tu-ma-yuan-218978","寒香诗思图","图中是两株老梅在寒冷的山沟里的栅栏外散发出香味。寒冷的月亮照耀着远处的雪山，鸟儿们迅速回到了自己的家。这幅画上有马远的签名，他不一定是他真正的笔者，但他也是马、夏画派的学生，有自己的风格和规则。",[23,24,56,25,27,497,26,176,7,35,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1a5aed98f76264eff7c54b963801ba.jpg","25.6x25.8",[85],{"id":4117,"slug":4118,"title":4119,"dynasty":48,"author":284,"museum":4120,"description":4121,"tags":4122,"thumbUrl":4123,"material":140,"size":39,"collection":85,"collections":4124,"showCount":3963,"zanCount":11,"manualWeight":11,"mainColor":125},218194,"shan-shui-tu-dui-zhou-yi-ming-218194","山水图对轴","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[24,3102,27,55,26,7,78,33,31,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bce89525f0d80cab8c2a4f7f1de6153.jpg",[85],{"id":4126,"slug":4127,"title":4128,"dynasty":48,"author":49,"museum":114,"description":1012,"tags":4129,"thumbUrl":4130,"material":120,"size":121,"collection":39,"collections":4131,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":67},290834,"qing-bi-ge-zhou-ni-zan-290834","清閟阁轴",[53,24,55,56,26,77,7,31,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd3330a29b981772972a37c35aa7341.jpg",[],27,{"id":4134,"slug":4135,"title":4136,"dynasty":283,"author":4137,"museum":114,"description":4138,"tags":4139,"thumbUrl":4140,"material":120,"size":121,"collection":39,"collections":4141,"showCount":4132,"zanCount":310,"manualWeight":11,"mainColor":67},289887,"xiu-huang-shu-wu-tu-dai-xi-289887","修篁书屋图","戴熙","戴熙（公元1801—1860年），清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘（今杭州）人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》《题画偶录》等。画作有《云岚烟翠图》《忆松图》《满门风华》等。",[24,53,54,55,25,825,101,7,31,33,1541,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc77b483372d1953c6b8b568e436085b.jpg",[],{"id":4143,"slug":4144,"title":4145,"dynasty":48,"author":4146,"museum":114,"description":4147,"tags":4148,"thumbUrl":4150,"material":120,"size":121,"collection":39,"collections":4151,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":89},289776,"ying-xue-du-shu-tu-sheng-mao-289776","映雪读书图","盛懋","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,53,24,55,56,27,26,30,78,191,7,31,179,4149],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a45a1b0d9b15b1568e84d320c9c1ac9.jpg",[],{"id":4153,"slug":4154,"title":4155,"dynasty":283,"author":664,"museum":114,"description":4156,"tags":4157,"thumbUrl":4158,"material":120,"size":121,"collection":39,"collections":4159,"showCount":4132,"zanCount":310,"manualWeight":11,"mainColor":89},287930,"fang-ju-ran-shan-shui-wang-hui-287930","仿巨然山水","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。”",[23,24,53,26,55,287,77,33,29,7,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2aae287d4fd8b90080a1dfb35dd9ea.jpg",[],{"id":4161,"slug":4162,"title":4163,"dynasty":48,"author":4164,"museum":131,"description":4165,"tags":4166,"thumbUrl":4167,"material":140,"size":4168,"collection":39,"collections":4169,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":89},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”。",[24,26,55,179,29,78,33,7,31,231,27,3568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90726182919826caa58237122e329861.jpg","144.9x85.2",[],{"id":4171,"slug":4172,"title":4173,"dynasty":72,"author":2657,"museum":114,"description":4174,"tags":4175,"thumbUrl":4178,"material":120,"size":121,"collection":39,"collections":4179,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":67},285065,"yue-ye-kan-chao-tu-li-song-285065","月夜看潮图","该画作描绘了宋时临安（今浙江杭州）中秋夜观海潮的情形，是一幅情景精致的杰作。",[23,777,24,53,402,25,77,29,4176,26,4177,7,99],"潮水","月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12505dfe1c558e14579ad3df9e7fede5.jpg",[],{"id":4181,"slug":4182,"title":3377,"dynasty":283,"author":664,"museum":114,"description":4183,"tags":4184,"thumbUrl":4185,"material":39,"size":39,"collection":85,"collections":4186,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":43},239461,"shan-shui-tu-zhou-wang-hui-239461","杨晋（1644-1728）字子和，一字子鹤，号西亭，又号谷林樵客、野鹤、鹤道人、水村、志学老人、雪阁移梅人、虞山野老、虞山樵子，江苏常熟人。清代画家。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，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。",[24,54,55,56,25,27,26,534,179,7,29,30,177,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6230cfa27d9d301082f367ba228509.jpg",[85],{"id":4188,"slug":4189,"title":4190,"dynasty":72,"author":284,"museum":159,"description":4191,"tags":4192,"thumbUrl":4194,"material":1470,"size":4195,"collection":63,"collections":4196,"showCount":4132,"zanCount":310,"manualWeight":11,"mainColor":89},223447,"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[23,24,55,56,25,7,4193,2400,413,58,26,968,176],"鸿雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","125.9＊92.6cm",[63,86],{"id":4198,"slug":4199,"title":822,"dynasty":18,"author":19,"museum":131,"description":4200,"tags":4201,"thumbUrl":4202,"material":81,"size":39,"collection":85,"collections":4203,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":89},222592,"hua-xue-jing-zhou-lan-ying-222592","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,55,25,26,27,179,78,33,29,191,7,31,32,30,2016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[85,86],{"id":4205,"slug":4206,"title":4207,"dynasty":18,"author":19,"museum":131,"description":4208,"tags":4209,"thumbUrl":4213,"material":81,"size":2818,"collection":85,"collections":4214,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":89},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,25,27,55,26,137,178,608,79,59,375,30,7,321,31,179,4210,413,4211,4212],"水榭","雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg",[85,277],{"id":4216,"slug":4217,"title":4218,"dynasty":283,"author":1517,"museum":252,"description":4219,"tags":4220,"thumbUrl":4221,"material":4222,"size":4223,"collection":85,"collections":4224,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":89},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[23,24,54,55,25,27,402,26,77,178,7,31,33,57,910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[85,277],{"id":4226,"slug":4227,"title":4228,"dynasty":283,"author":664,"museum":114,"description":798,"tags":4229,"thumbUrl":4231,"material":307,"size":803,"collection":39,"collections":4232,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":67},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5",[23,24,4230,25,26,27,78,33,585,7,28,31,30,117],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg",[],{"id":4234,"slug":4235,"title":4236,"dynasty":18,"author":4237,"museum":4238,"description":4239,"tags":4240,"thumbUrl":4241,"material":140,"size":4242,"collection":85,"collections":4243,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":89},219939,"han-lin-tiao-shu-tu-zhang-lu-219939","寒林挑书图","张路","辛辛那提艺术博物馆","张路（1464-1538），字天驰，号平山，仅以字行于世，祥符（今河南开封）人。擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名。",[23,24,56,25,27,343,30,7,413,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421caf7257300c2841033656677c2b35.jpg","132.4x71.4",[85],{"id":4245,"slug":4246,"title":4247,"dynasty":283,"author":1279,"museum":50,"description":4248,"tags":4249,"thumbUrl":4250,"material":61,"size":4251,"collection":39,"collections":4252,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":67},219854,"ba-jing-shan-shui-tu-3-gong-xian-219854","八景山水图-3","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,56,26,7,375,1282,403,27,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19de21601c89225b55803f981dddc27.jpg","24.4x49.7厘米",[],{"id":4254,"slug":4255,"title":4256,"dynasty":48,"author":4164,"museum":131,"description":4257,"tags":4258,"thumbUrl":4260,"material":140,"size":39,"collection":39,"collections":4261,"showCount":4132,"zanCount":11,"manualWeight":11,"mainColor":67},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[23,24,54,304,56,27,26,7,28,33,118,4259,562],"渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],{"id":4263,"slug":4264,"title":4265,"dynasty":18,"author":330,"museum":114,"description":3865,"tags":4266,"thumbUrl":4270,"material":120,"size":121,"collection":39,"collections":4271,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":67},283733,"lin-chu-sui-liang-ku-shu-fu-juan-dong-qi-chang-283733","临褚遂良枯树赋卷",[23,98,162,256,287,4267,99,7,176,4268,4269,28],"字帖","孤木","霜露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbe2efc33ab5122230daa6a160596c8.jpg",[],26,{"id":4274,"slug":4275,"title":4276,"dynasty":72,"author":4277,"museum":114,"description":4278,"tags":4279,"thumbUrl":4281,"material":120,"size":121,"collection":39,"collections":4282,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":89},283685,"dong-jing-shan-shui-tu-zhou-li-gong-nian-283685","冬景山水图轴","李公年","李公年，男，画家，[宋]尝为提点江浙刑狱公事。善画山水，运笔立意，风格不下前辈。写四时之图，甚有水云余思，至于写朝暮景趣，作长江日出，疎林晚照，真若物像出没于空旷有无之间。作有《宣和画谱》.",[24,53,55,56,26,7,3293,4280,57,27,2111],"寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0868985d55d143b02ffd63031643b81a.jpg",[],{"id":4284,"slug":4285,"title":4286,"dynasty":283,"author":4287,"museum":159,"description":4288,"tags":4289,"thumbUrl":4290,"material":37,"size":4291,"collection":85,"collections":4292,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":43},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴","王概","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,54,55,56,25,26,321,7,191,33,31,403,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg","纵45.1厘米，横30.8厘米",[85],{"id":4294,"slug":4295,"title":4296,"dynasty":283,"author":4297,"museum":114,"description":4298,"tags":4299,"thumbUrl":4300,"material":120,"size":121,"collection":39,"collections":4301,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":67},235410,"gui-mu-tu-zhou-ren-yi-235410","归牧图轴","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[24,54,55,56,25,343,27,922,30,7,176,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a255d8a5587e721f7641ff82ff02e1.jpg",[],{"id":4303,"slug":4304,"title":4305,"dynasty":18,"author":4306,"museum":159,"description":4307,"tags":4308,"thumbUrl":4309,"material":4310,"size":4311,"collection":39,"collections":4312,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":89},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","刘俊","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[18,134,25,402,30,77,7,137,815,31,26,1829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","绢本，淡设色","纵143.2厘米，横75厘米",[],{"id":4314,"slug":4315,"title":4316,"dynasty":283,"author":697,"museum":159,"description":4317,"tags":4318,"thumbUrl":4320,"material":4321,"size":4322,"collection":39,"collections":4323,"showCount":4272,"zanCount":310,"manualWeight":11,"mainColor":67},233703,"gu-cha-duan-di-tu-zhou-hong-ren-233703","古槎短荻图轴","此图纸本，墨笔。绘香士陈应颀居所，具有写实意味，简陋的书舍与陈设衬托出主人品性的孤高，书屋内寂静无人，内设几案龛灯，屋前两株古树相对而立，叶落待尽、寒枝舒展，所以给人以萧条纯净之感。拾级而下一弯小溪蜿蜒流淌汇集成塘，周围环绕着高低错落的岩石，溪水宁静无澜犹如主人不逐名利的平淡心境。右边短荻丛生，清润可爱，为幽居的高士生活增添了几许生气。前景潭环石抱，潭边的岩石用方折的线条空勾，几无皴染，为弘仁典型的几何形体画法，潭水用大片的留白来表达，不擦一笔。整幅画墨色枯淡，用笔简疏，意境淡远，虚静、空灵之境油然而生。",[24,56,149,27,55,26,7,4319,32,31,474],"短荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f27cfcac2aa374ca7abeb7343608a1.jpg","纸本 ，墨笔","纵61.9cm，横35.3cm",[],{"id":4325,"slug":4326,"title":4327,"dynasty":48,"author":214,"museum":114,"description":4328,"tags":4329,"thumbUrl":4330,"material":39,"size":39,"collection":39,"collections":4331,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":67},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,54,55,56,27,26,31,178,33,59,2368,231,7,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":4333,"slug":4334,"title":4335,"dynasty":283,"author":300,"museum":114,"description":4336,"tags":4337,"thumbUrl":4338,"material":39,"size":39,"collection":39,"collections":4339,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":67},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[23,24,56,287,27,99,98,256,304,26,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":4341,"slug":4342,"title":4343,"dynasty":48,"author":2450,"museum":114,"description":4344,"tags":4345,"thumbUrl":4348,"material":39,"size":39,"collection":39,"collections":4349,"showCount":4272,"zanCount":310,"manualWeight":11,"mainColor":89},228033,"xie-qin-fang-you-tu-luo-zhi-chuan-228033","携琴访友图","此作用平远之景铺陈开卷，近岸古木虬结遒劲，枯枝如铁爪横斜，以劲健笔法勾勒出老树历经风霜的沧桑古拙，苔点错落晕染，更添斑驳质感。寒溪萦回浅滩，碎石错落，淡墨轻皴坡岸，尽显清寂荒寒。远景浅墨晕出山峦平沙，层层推远，寥寥数笔便将郊野冬日的空阔淡宕铺展开来。\n\n全作用笔简劲老辣，干笔皴擦尽显枯木苍劲，墨色浓淡相生，于简淡萧疏间营造出幽远孤清的意境，尽显尚简重意的审美意趣，寄寓着林下幽人超尘出俗的襟怀。",[24,56,27,55,7,31,26,28,1528,1058,4346,4347],"平坡","墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0822ab22276624f46ebb1f67121fe5.jpg",[],{"id":4351,"slug":4352,"title":4353,"dynasty":72,"author":4354,"museum":114,"description":4355,"tags":4356,"thumbUrl":4360,"material":39,"size":39,"collection":39,"collections":4361,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":89},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。",[23,53,24,54,55,56,26,27,29,7,57,31,58,178,4357,2889,413,305,389,4358,3258,4359],"渔舟","山石皴染","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":4363,"slug":4364,"title":4365,"dynasty":2882,"author":4366,"museum":114,"description":4367,"tags":4368,"thumbUrl":4370,"material":39,"size":39,"collection":39,"collections":4371,"showCount":4272,"zanCount":310,"manualWeight":11,"mainColor":89},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[23,24,54,56,343,27,26,7,29,509,4369,58,2395,2540],"渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],{"id":4373,"slug":4374,"title":4375,"dynasty":2882,"author":2883,"museum":114,"description":2884,"tags":4376,"thumbUrl":4384,"material":120,"size":121,"collection":2898,"collections":4385,"showCount":4272,"zanCount":11,"manualWeight":11,"mainColor":67},225906,"breakup-of-ice-1880-mo-nai-225906","Breakup of Ice, 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画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[24,53,55,56,30,3978,7,413,98,99,4668],"神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f17d7ca35f02bdee116a789ce211580.jpg",[],23,{"id":4673,"slug":4674,"title":2196,"dynasty":48,"author":1752,"museum":114,"description":3976,"tags":4675,"thumbUrl":4677,"material":120,"size":121,"collection":39,"collections":4678,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},290083,"zhong-kui-tu-chen-lin-290083",[24,53,30,56,55,3978,7,28,99,4676],"神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8970376efca2494a23a4ad5bef46147f.jpg",[],{"id":4680,"slug":4681,"title":4682,"dynasty":72,"author":4683,"museum":114,"description":4684,"tags":4685,"thumbUrl":4686,"material":120,"size":121,"collection":39,"collections":4687,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},289587,"xue-jiang-mai-yu-tu-li-dong-289587","雪江卖鱼图","李东","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[23,24,777,56,26,179,29,7,2056,33,790,3579,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038a369550e9f84fa41dc6cef7d24d39.jpg",[],{"id":4689,"slug":4690,"title":4691,"dynasty":283,"author":664,"museum":114,"description":4156,"tags":4692,"thumbUrl":4693,"material":120,"size":121,"collection":39,"collections":4694,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":67},235369,"fang-ni-zan-shan-shui-zhou-wang-hui-235369","仿倪瓒山水轴",[24,54,55,56,26,287,27,7,31,178,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1642df578d1930c54ea3752bace297.jpg",[],{"id":4696,"slug":4697,"title":4698,"dynasty":283,"author":4297,"museum":159,"description":4699,"tags":4700,"thumbUrl":4701,"material":1401,"size":4702,"collection":39,"collections":4703,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":67},233410,"ren-song-yun-xiang-zhou-ren-yi-233410","任淞云像轴","任伯年乃是处于中国古代社会与近现代交界线上的一位人物，而他的绘画在清末画坛犹如奇峰崛起，代表着传统艺术的一个新的高度。\n他的人物画既具有总结性，又富有前瞻性。上接陈洪绶、八大山人、华嵒、闵贞、费丹旭、任渭长、任阜长之衣钵，下启徐悲鸿及蒋兆和之新一代画风。他不仅是“海派”中的佼佼者，而且也是中国绘画史上的一位大师。",[24,54,55,25,56,30,7,31,2744,321,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb450c7a206e3c836cbe9cd017f905d9d.jpg","173.1cm×47.3cm",[],{"id":4705,"slug":4706,"title":4707,"dynasty":72,"author":3459,"museum":2207,"description":4708,"tags":4709,"thumbUrl":4710,"material":61,"size":4711,"collection":39,"collections":4712,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":67},232629,"qun-xian-gao-hui-tu-juan-li-gong-lin-232629","群仙高会图卷","长卷绘群山连绵，云雾缭绕，群仙或立于云端、山中、河岸边、凉亭里，画卷中绘一高大天门，长松守护左右，众仙聚集热闹非凡。",[24,54,162,149,56,26,30,31,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a48d01ac0c21f75efd5eeab0c875d1.jpg","41.5x948.7",[],{"id":4714,"slug":4715,"title":4716,"dynasty":72,"author":158,"museum":114,"description":4717,"tags":4718,"thumbUrl":4719,"material":39,"size":39,"collection":39,"collections":4720,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[23,24,54,304,27,25,26,585,30,117,7,31,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":4722,"slug":4723,"title":4724,"dynasty":2882,"author":3062,"museum":114,"description":4725,"tags":4726,"thumbUrl":4727,"material":39,"size":39,"collection":39,"collections":4728,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,53,24,3102,55,26,179,77,7,31,376,57,27,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":4730,"slug":4731,"title":4732,"dynasty":72,"author":284,"museum":159,"description":4733,"tags":4734,"thumbUrl":4735,"material":61,"size":4736,"collection":85,"collections":4737,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,54,162,287,56,27,26,100,79,59,191,33,30,35,78,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[85,86],{"id":4739,"slug":4740,"title":4741,"dynasty":72,"author":284,"museum":131,"description":4742,"tags":4743,"thumbUrl":4750,"material":103,"size":4751,"collection":39,"collections":4752,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,24,54,55,25,134,922,269,7,2540,288,59,1063,4744,4745,4746,138,272,4747,4748,4749],"田野","水牛","犊牛","草丛","细笔","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":4754,"slug":4755,"title":2632,"dynasty":72,"author":1021,"museum":1269,"description":4756,"tags":4757,"thumbUrl":4760,"material":1470,"size":4761,"collection":39,"collections":4762,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},221616,"xue-jing-shan-shui-ye-liang-kai-221616","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[24,825,179,7,29,4758,56,27,30,1002,4759],"寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85860d84d0ad711c939e5c6fb99e44de.jpg","纵111.3厘米、横49.7厘米",[],{"id":4764,"slug":4765,"title":4766,"dynasty":72,"author":494,"museum":1269,"description":4767,"tags":4768,"thumbUrl":4769,"material":455,"size":4770,"collection":39,"collections":4771,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},221535,"zhou-ren-xing-tu-ma-yuan-221535","舟人形图","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。 [1]\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。",[23,53,24,54,777,134,56,25,30,29,7,486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":4773,"slug":4774,"title":4775,"dynasty":72,"author":284,"museum":1983,"description":4776,"tags":4777,"thumbUrl":4778,"material":140,"size":39,"collection":85,"collections":4779,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":89},219919,"xue-yuan-tu-yi-ming-219919","雪园图","以俯瞰视角铺展冬园景致，枯木寒竹环伺素瓦厅堂，朱红廊桥蜿蜒于池畔，暖艳色调破开绢底沉郁的萧寒。远山以淡墨晕染，空濛悠远，不着一笔画雪，却借萧索枝桠、冷寂苔阶衬出隆冬清寒。\n\n屋宇勾勒工整流丽，与山水的写意晕染相融，将园林的规整雅致与冬景的荒淡清寂揉合一处，藏着宋人冬日静居园中的闲淡心境，把隆冬里的幽居意趣晕染在方寸纨扇之上。",[23,24,54,777,402,25,77,78,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa442b5ebc3c18eafd18163b69ed18bd3.jpg",[85],{"id":4781,"slug":4782,"title":4783,"dynasty":72,"author":73,"museum":131,"description":4784,"tags":4785,"thumbUrl":4786,"material":103,"size":4787,"collection":63,"collections":4788,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":67},218698,"han-lin-ji-xue-tu-li-cheng-218698","寒林积雪图","这幅《雪山萧寺图》只取了李成画寒林雪的名字，但风格更接近于蓝瑛和刘度的风格。",[23,24,53,54,162,26,413,1133,7,31,25,27,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e6c410e1468f140d6db63b045c2caf.jpg","29.7x21cm",[63],{"id":4790,"slug":4791,"title":4792,"dynasty":18,"author":284,"museum":4793,"description":4794,"tags":4795,"thumbUrl":4796,"material":140,"size":39,"collection":85,"collections":4797,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":67},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[24,56,25,26,33,191,7,35,176,27,837,57,766,343,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[85],{"id":4799,"slug":4800,"title":4801,"dynasty":18,"author":330,"museum":50,"description":4802,"tags":4803,"thumbUrl":4804,"material":39,"size":39,"collection":85,"collections":4805,"showCount":4671,"zanCount":11,"manualWeight":11,"mainColor":4806},203011,"yan-wu-ba-jing-tu-ce-dong-qi-chang-203011","燕吴八景图册","画面取山水之精粹，左幅以淡彩晕染山峦，峰顶赭石点染与深绿山体形成层次，云雾借留白与淡墨晕化，松枝挺劲，岸畔茅舍隐现，尽显江南山水的温润悠远；右幅以水墨写雪景，山石皴法刚健，线条勾勒积雪厚重与岩石肌理，枯树疏枝傲立，寒江静谧，传递冬日山川的清寂萧疏。笔墨间可见董其昌对意境的追求，不重写实而重神韵，以简洁构图营造空灵淡远的文人气息，尽显“以画为寄”的艺术主张。",[777,56,25,27,26,2016,3195,31,403,179,7,1122,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25ef6d679fbc825f90db5e577bda970.jpg",[85],"beae99",{"id":4808,"slug":4809,"title":4810,"dynasty":18,"author":4811,"museum":131,"description":4812,"tags":4813,"thumbUrl":4815,"material":120,"size":121,"collection":39,"collections":4816,"showCount":4817,"zanCount":235,"manualWeight":11,"mainColor":89},290603,"dong-ge-guan-mei-zhou-zhang-chong-290603","东阁观梅轴","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[24,55,25,26,30,77,7,31,1056,27,4814],"文人雅兴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13147d10765a579e7a0259ec1ba29a85.jpg",[],22,{"id":4819,"slug":4820,"title":4821,"dynasty":72,"author":158,"museum":114,"description":1081,"tags":4822,"thumbUrl":4824,"material":120,"size":121,"collection":39,"collections":4825,"showCount":4817,"zanCount":11,"manualWeight":11,"mainColor":89},290304,"yun-yan-lan-sheng-zhou-guo-xi-290304","云烟揽胜轴",[24,55,825,56,27,26,403,7,31,33,29,3236,4823],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8371c836a4c84acf0ffa9310d91859.jpg",[],{"id":4827,"slug":4828,"title":4829,"dynasty":72,"author":158,"museum":114,"description":1081,"tags":4830,"thumbUrl":4831,"material":120,"size":121,"collection":39,"collections":4832,"showCount":4817,"zanCount":11,"manualWeight":11,"mainColor":89},289729,"dai-du-tu-guo-xi-289729","待渡图",[24,53,825,7,29,179,413,27,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46443a087c5a90d3ffc116ed0cd1d89d.jpg",[],{"id":4834,"slug":4835,"title":4836,"dynasty":72,"author":284,"museum":114,"description":4837,"tags":4838,"thumbUrl":4839,"material":120,"size":121,"collection":39,"collections":4840,"showCount":4817,"zanCount":11,"manualWeight":11,"mainColor":89},288198,"xue-jing-dai-du-tu-yi-ming-288198","雪景待渡图","以淡墨晕染铺就江天寒寂，留白尽展冬日空濛。岸渚之上枯木虬枝错落，寒叶稀疏，旅人裹衣伫立石畔，引颈遥望江心，待渡的怅然悄然弥散。远山隐在氤氲寒雾中，只剩淡远轮廓，寒鸦掠过长空，更添清寥。江面寥寥淡笔勾出水波，扁舟隐约浮沉，似正缓缓渡来。\n\n全幅未施白粉，却以墨色浓淡晕出积雪凝寒之意，将冬日江渡的萧索宁静揉入尺幅之间，尽显山水留白的悠远意趣，把萧寒冬日里的羁旅况味藏在淡墨清岚之中，清冷空寂直入人心。",[23,777,24,56,26,179,7,35,176,4259,1122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32408b9658940e6f1d83b48259817af5.jpg",[],{"id":4842,"slug":4843,"title":4844,"dynasty":283,"author":422,"museum":114,"description":2365,"tags":4845,"thumbUrl":4847,"material":120,"size":121,"collection":39,"collections":4848,"showCount":4817,"zanCoun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风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,825,53,54,55,56,27,134,319,137,178,177,59,191,7,179,1133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg","48X123cm",[],{"id":4927,"slug":4928,"title":4929,"dynasty":283,"author":4930,"museum":1257,"description":4931,"tags":4932,"thumbUrl":4935,"material":25,"size":39,"collection":85,"collections":4936,"showCount":4817,"zanCount":11,"manualWeight":11,"mainColor":67},220042,"han-qiu-wan-yan-tu-zhang-feng-220042","寒秋晚烟图","张风","图绘高士在秋林水畔觅句，寒烟重重，密林无限，空寂之至。",[23,24,54,55,56,25,27,26,30,7,28,3293,3433,403,4933,4934],"寒秋","晚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45634c300f514a2047d57e857165e26.jpg",[85],{"id":4938,"slug":4939,"title":3755,"dynasty":283,"author":4940,"museum":50,"description":4941,"tags":4942,"thumbUrl":4944,"material":39,"size":39,"collection":39,"collections":4945,"showCount":4817,"zanCount":11,"manualWeight":11,"mainColor":4946},201835,"xue-shan-xing-lv-tu-zhou-zhou-hao-201835","周颢","寒冬雪霁，群山覆素，苍莽沉雄。枯木裸枝挂霜凝雪，姿态虬劲；山坳茅舍错落，炊烟隐现。雪径上旅人策马，衣袂飘举，似携暖意穿行冷寂天地。笔墨间，积雪以留白与淡墨晕染相济，山峦皴擦见骨，枯树线条细劲如铁，人物虽小却形神毕肖，动静相宜。整幅画意境清旷，兼具自然肃穆与生活温情，水墨设色淡雅，尽显传统山水韵致。",[24,26,27,56,30,585,7,534,1094,4943],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc019dd1c4aa6c9a1c74ac3d49236616.jpg",[],"bba58d",{"id":4948,"slug":4949,"title":4950,"dynasty":72,"author":1644,"museum":131,"description":2054,"tags":4951,"thumbUrl":4952,"material":103,"size":2059,"collection":39,"collections":4953,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":125},290940,"xue-xi-yu-fu-zhou-xu-dao-ning-290940","雪溪渔父轴",[53,24,55,56,26,179,7,35,33,27,1322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f27de3f670f6cff184316c4bfa2242.jpg",[],21,{"id":4956,"slug":4957,"title":4958,"dynasty":48,"author":284,"museum":114,"description":4959,"tags":4960,"thumbUrl":4961,"material":120,"size":121,"collection":39,"collections":4962,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":89},290018,"fang-guo-xi-shan-shui-zhou-yi-ming-290018","仿郭熙山水轴","图画秋江边,千岩竞秀,白云萦绕,树林垂荫,楼台掩映.平静的江面上,闲暇的船夫正在聊天,一群水鸟轻快地掠过水面,境界静谧恬适.画石用圆笔,作卷云皴",[23,24,55,26,56,27,7,31,230,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b21e4be19108178ce55749975e9d2f.jpg",[],{"id":4964,"slug":4965,"title":4966,"dynasty":72,"author":73,"museum":114,"description":2066,"tags":4967,"thumbUrl":4968,"material":120,"size":121,"collection":39,"collections":4969,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":67},289780,"yao-feng-qi-shu-tu-li-cheng-289780","瑶峰琪树图",[53,24,54,26,56,7,31,179,256,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f229c5713131362d665ca7363e7250.jpg",[],{"id":4971,"slug":4972,"title":4973,"dynasty":72,"author":1308,"museum":114,"description":2003,"tags":4974,"thumbUrl":4975,"material":120,"size":121,"collection":39,"collections":4976,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":67},289332,"guan-mei-du-shu-tu-li-tang-289332","观梅读书图",[23,24,53,777,25,30,1056,7,26,4149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b823851ea7923b11a2ee16d1934de8d.jpg",[],{"id":4978,"slug":4979,"title":4980,"dynasty":72,"author":3459,"museum":114,"description":4981,"tags":4982,"thumbUrl":4983,"material":120,"size":121,"collection":39,"collections":4984,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":67},287964,"bai-miao-luo-han-tu-ce-li-gong-lin-287964","白描罗汉图册","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。",[23,53,24,304,149,848,30,3588,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17296acc42853c345f7a96731f220b0.jpg",[],{"id":4986,"slug":4987,"title":4988,"dynasty":283,"author":4989,"museum":114,"description":4990,"tags":4991,"thumbUrl":4992,"material":120,"size":121,"collection":85,"collections":4993,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":67},239371,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239371","画载月十咏诗意册","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[24,54,304,56,25,26,7,29,176,898,31,3082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802a3fac4a620ea4ffc6e3e70fcfe962.jpg",[85,277],{"id":4995,"slug":4996,"title":4997,"dynasty":283,"author":4998,"museum":114,"description":4999,"tags":5000,"thumbUrl":5001,"material":39,"size":39,"collection":85,"collections":5002,"showCount":4954,"zanCount":310,"manualWeight":11,"mainColor":67},239037,"hou-tu-zhou-zhu-chang-fu-239037","厚图轴","祝昌阜","此作以高远章法铺陈，主峰斜曳横贯，以斧劈皴利落勾勒石体质感，淡墨晕染出崖壁的苍莽雄浑，自带冷峭荒寒的山野意趣。\n\n崖畔孤松虬曲凌云，枝干舒展如展翼，松针攒簇见精神，扎根绝壁尽显傲骨。旁侧枯木寒枝错落，苔点墨色浓重，衬出山境的清寂寥落。画面留白疏朗，铺陈出天地空茫之意，笔墨简淡萧散，以写意笔法尽抒林下幽怀，将山水的荒寒之美与文人逸致相融，寥寥数笔便勾勒出清寂出尘的林泉意韵，淡远悠长。",[24,55,56,27,26,321,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2151157b14216f4511adb2ab721e9afa.jpg",[85,86],{"id":5004,"slug":5005,"title":5006,"dynasty":283,"author":858,"museum":114,"description":1146,"tags":5007,"thumbUrl":5008,"material":39,"size":39,"collection":39,"collections":5009,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":67},237770,"yuan-ji-shan-shui-tu-ce-shi-tao-237770","原济山水图册",[24,54,304,56,27,26,7,31,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0569d30c8c1e7e5d53b701ff531c8ac.jpg",[],{"id":5011,"slug":5012,"title":5013,"dynasty":18,"author":2120,"museum":114,"description":5014,"tags":5015,"thumbUrl":5017,"material":39,"size":39,"collection":39,"collections":5018,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":67},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[24,54,55,56,27,26,5016,1133,7,321,31,32,30,230,403],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":5020,"slug":5021,"title":5022,"dynasty":18,"author":5023,"museum":114,"description":5024,"tags":5025,"thumbUrl":5026,"material":39,"size":39,"collection":39,"collections":5027,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":67},228493,"pei-yue-xian-xing-tu-du-jin-228493","陪月闲行图","杜堇","《陪月闲行图》是中国明代画家杜堇的国画作品。\n该画为纸本水墨，纵156.5厘米，横72.4厘米，现流落于（美）克里夫兰艺术博物馆。\n杜堇[明]十五—十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒人。\n丹徒（今江苏镇江）人，占籍燕京（今北京市）。\n宪宗成化（一四六五―一四八七）中试进士不第，绝意进取。\n工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。\n人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。\n弘治二年（一四八九）为吴原博（宽）作赏菊宴集图。\n《画史会要》、《图绘宝鉴续纂》、《无声诗史》、《艺苑巵言》 。\n杜堇的传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（15）由金琮（1449-151）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。\n《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《郡雍像》轴等，上述画均藏故宫博物院。\n从艺活动约在成化、弘治间。",[24,56,55,30,26,7,31,27,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d45025facb50d10416b1c61101165b.jpg",[],{"id":5029,"slug":5030,"title":3536,"dynasty":48,"author":3537,"museum":114,"description":5031,"tags":5032,"thumbUrl":5034,"material":39,"size":39,"collection":39,"collections":5035,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":89},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,53,24,54,55,5033,56,25,27,28,7,31,33,2015,35],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":5037,"slug":5038,"title":5039,"dynasty":2882,"author":2883,"museum":114,"description":2884,"tags":5040,"thumbUrl":5042,"material":120,"size":121,"collection":2898,"collections":5043,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":67},225934,"giverny-mo-nai-225934","Giverny",[2887,2886,5041,7,1217,2890,4485,178,4744,3256],"风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0800caf2567818f4cbe8a82dad1c4f0.jpg",[2898],{"id":5045,"slug":5046,"title":5047,"dynasty":283,"author":858,"museum":114,"description":5048,"tags":5049,"thumbUrl":5050,"material":39,"size":39,"collection":39,"collections":5051,"showCount":4954,"zanCount":310,"manualWeight":11,"mainColor":67},224510,"shan-shui-tu-ce-8-kai-1-zhang-da-qian-jiu-cang-shi-tao-224510","山水图册8开-1-张大千旧藏","淡墨晕染远山，恍如烟霭轻笼，望之渺渺。近前丘峦以枯笔焦墨皴擦勾勒，苍劲朴拙，自带厚重古意。坡岸寒林萧疏，枝桠错落淡写，空寂清寒之境跃然纸上。右侧三两茅舍依偎岩岫，隐于林木间，尽出世幽居之趣。\n书画相融，题诗佐景，朱红金石印章错落点缀，更添雅致。笔意纵恣又不失内敛，将山雨初歇后的微茫空濛铺陈开来，淡而弥厚，简而愈远，尽显静穆萧散的文人逸趣，把江南山野的幽淡之美，晕作悠然忘尘的林下诗意。",[23,53,24,54,304,56,27,26,7,32,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93031ba8b540688941b476a31e5177ff.jpg",[],{"id":5053,"slug":5054,"title":5055,"dynasty":283,"author":2903,"museum":114,"description":5056,"tags":5057,"thumbUrl":5058,"material":39,"size":39,"collection":39,"collections":5059,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":89},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,53,24,54,162,56,26,27,100,7,320,562,33,57,474,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":5061,"slug":5062,"title":5063,"dynasty":18,"author":2694,"museum":131,"description":5064,"tags":5065,"thumbUrl":5067,"material":646,"size":5068,"collection":39,"collections":5069,"showCount":4954,"zanCount":11,"manualWeight":11,"mainColor":89},222176,"han-jiang-diao-ting-zhou-lu-zhi-222176","寒江钓艇轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n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。",[23,53,24,54,55,25,134,1122,29,509,7,474,179,30,5066],"钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe21dd60fea833be1aafb87910d35216.jpg","65.7x36.6厘米",[],{"id":5071,"slug":5072,"title":5073,"dynasty":283,"author":5074,"museum":131,"description":5075,"tags":5076,"thumbUrl":5077,"material":307,"size":5078,"collection":85,"collections":5079,"showCount":4954,"zanCount":310,"manualWeight":11,"mainColor":89},219431,"fan-cheng-da-mai-chi-dai-ci-tu-cao-kui-yin-219431","范成大卖痴呆词图","曹夔音","这幅画是范成达农历十二月村田乐府诗中关于卖痴呆症的诗。 苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 于是跨年夜过后，孩子们在街上游行，大喊大叫卖痴呆症。",[24,54,55,25,26,30,77,7,32,31,191,99,134,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe24ffa84bd65559c421b643f58bad25.jpg","纵113横28.7厘米",[85,634],{"id":5081,"slug":5082,"title":5083,"dynasty":72,"author":1644,"museum":131,"description":5084,"tags":5085,"thumbUrl":5086,"material":81,"size":5087,"collection":39,"collections":5088,"showCount":5089,"zanCount":11,"manualWeight":11,"mainColor":89},290941,"guan-shan-mi-xue-tu-zhou-xu-dao-ning-290941","关山密雪图轴","该图以立幅形式表现深山春雪过后的景色。画之上部雪山巍峨，巨大的山体覆盖住了画卷的上部，起伏雄伟的山峰上树木茂密，山腰之中，有几间屋舍，画家用工笔画出屋舍，使之与粗犷的群山形成对应。小屋旁边溪水流淌，水磨欢转，使寂寥静谧的雪山增添了生气，使得画面更加的传神与生动。该图运笔凝重细劲，以短笔布皴，严谨而有法度，故疏而不薄。这幅雪景图里既有李成的绘画特点，也有从范宽那里学到的刚劲雄厚的格调。",[24,26,55,179,534,7,413,27,56,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b5e8337a90edbc0f062b91c23ff162.jpg","121.3x81.3",[],20,{"id":5091,"slug":5092,"title":5093,"dynasty":48,"author":1654,"museum":131,"description":5094,"tags":5095,"thumbUrl":5100,"material":307,"size":1661,"collection":39,"collections":5101,"showCount":5089,"zanCount":11,"manualWeight":11,"mainColor":67},290617,"mi-tuo-fo-xiang-zhou-zhang-wo-290617","弥陀佛像轴","张渥中国元代画家。(？-约1356前)〔元〕字叔厚，号贞期生、江海客，淮南（今安徽合肥）人，后居杭州（今浙江杭州）。通文史，好音律，然屡举不中，仕途失意，遂寄情诗画。能山水，“尽自然之性”，擅长人物，法李公麟白描得其清丽流畅之风；擅“铁线描”，被誉为“李龙眠后一人而已”。亦尝作弥勒佛像。所画线条刚劲飘逸，人物形神刻画生动，兼画梅竹亦潇洒有致。",[53,24,54,55,848,5096,1653,2762,25,7,1657,5097,5098,1659,5099,99,2112],"佛教","童子","案几","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7abd483f15fcd6d5d2c30f48956588.jpg",[],{"id":5103,"slug":5104,"title":5105,"dynasty":18,"author":330,"museum":114,"description":3865,"tags":5106,"thumbUrl":5107,"material":120,"size":121,"collection":39,"collections":5108,"showCount":5089,"zanCount":11,"manualWeight":11,"mainColor":67},283758,"bei-shan-he-chu-tu-zhou-dong-qi-chang-283758","北山荷锄图轴",[24,55,56,26,7,31,231,377,27,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c645e9eb5aa6d6f504c27224f82163e.jpg",[],{"id":5110,"slug":5111,"title":5112,"dynasty":18,"author":284,"museum":159,"description":5113,"tags":5114,"thumbUrl":5115,"material":733,"size":5116,"collection":39,"collections":5117,"showCount":5089,"zanCount":11,"manualWeight":11,"mainColor":89},234850,"ming-ren-ta-xue-xun-mei-tu-zhou-yi-ming-234850","明人踏雪寻梅图轴","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[24,55,25,26,30,137,1056,31,7,29,27,191,3082,178,536,1829,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F634973a6f6c09d6dcbadcd623b2d458b.jpg","纵83.5厘米，横47.2厘米",[],{"id":5119,"slug":5120,"title":5121,"dynasty":283,"author":858,"museum":159,"description":5122,"tags":5123,"thumbUrl":5124,"material":61,"size":5125,"collection":39,"collections":5126,"showCount":5089,"zanCount":11,"manualWeight":11,"mainColor":67},233125,"yuan-ji-shan-shui-ce-shi-tao-233125","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,54,304,56,25,26,77,7,31,99,98,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ecd5e9a88ca195d5a33c884ecf3e42.jpg","纵33.2cm，横22.8cm",[],{"id":5128,"slug":5129,"title":5130,"dynasty":283,"author":5131,"museum":131,"description":5132,"tags":5133,"thumbUrl":5134,"material":646,"size":5135,"collection":39,"collections":5136,"showCount":5089,"zanCount":11,"manualWeight":11,"mainColor":89},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,54,55,56,25,134,27,26,30,178,7,321,32,177,31,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":5138,"slug":5139,"title":5140,"dynasty":72,"author":5141,"museum":2207,"description":5142,"tags":5143,"thumbUrl":5144,"material":511,"size":5145,"collection":39,"collections":5146,"showCount":5089,"zanCount":310,"manualWeight":11,"mainColor":89},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","林庭珪","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,53,24,54,55,848,25,134,30,7,33,59,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":5148,"slug":5149,"title":5150,"dynasty":283,"author":2741,"museum":114,"description":5151,"tags":5152,"thumbUrl":5153,"material":39,"size":39,"collection":39,"collections":5154,"showCount":5089,"zanCount":11,"manualWeight":11,"mainColor":67},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[23,24,55,56,27,149,26,191,7,474,31,33,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":5156,"slug":5157,"title":5158,"dynasty":283,"author":1603,"museum":546,"description":1604,"tags":5159,"thumbUrl":5164,"material":81,"size":1608,"collection":39,"collections":5165,"showCount":5089,"zanCount":11,"manualWeight":11,"mainColor":67},222961,"hong-lou-meng-86-sun-wen-222961","红楼梦86",[23,134,25,402,26,77,78,30,2434,179,2036,3830,5160,178,5161,536,7,5162,31,815,968,5163],"伞","桃花","古装","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face67c130a7ac403f4b975c7af2da2cf.jpg",[],{"id":5167,"slug":5168,"title":5169,"dynasty":72,"author":5170,"museum":114,"description":5171,"tags":5172,"thumbUrl":5173,"material":120,"size":121,"collection":39,"collections":5174,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":67},290167,"qiu-jiang-fu-ting-tu-ke-luo-ban-zhu-huai-jin-290167","秋江浮艇图（珂罗版）","朱怀瑾","[宋]钱塘（今杭州）人。宝佑（一二五三―一二五八）间画院待诏。景定（一二六o――一二六四）间为福王府使臣，咸淳（一二六五―一二七四）间赐金带。工山水、人物、树木、窠石，作雪景用墨全师夏珪，谨守规矩，不敢肆笔。《杭州志》、《图绘宝鉴》、《画史会要》",[24,56,26,55,29,33,7,176,31,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd843df33958c2acb7ddb8952db6b2c2d.jpg",[],19,{"id":5177,"slug":5178,"title":5179,"dynasty":72,"author":494,"museum":114,"description":707,"tags":5180,"thumbUrl":5181,"material":120,"size":121,"collection":39,"collections":5182,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":67},289109,"han-zhi-ce-ye-zhuang-biao-ma-yuan-289109","寒枝册页（装裱）",[53,24,54,304,56,3046,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbae26ad85a54ed25a328adc48ff2ff6.jpg",[],{"id":5184,"slug":5185,"title":5186,"dynasty":48,"author":1319,"museum":114,"description":5187,"tags":5188,"thumbUrl":5190,"material":120,"size":121,"collection":39,"collections":5191,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":89},287758,"gao-jie-ling-yun-tu-zhuang-biao-wu-zhen-287758","高节凌云图（装裱）","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[53,24,54,55,56,101,35,7,98,5189],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c6c5f018da369c34404e3ac4413aec.jpg",[],{"id":5193,"slug":5194,"title":832,"dynasty":112,"author":1883,"museum":114,"description":5195,"tags":5196,"thumbUrl":5197,"material":120,"size":121,"collection":39,"collections":5198,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":89},287700,"yan-ai-qiu-she-tu-zhao-gan-287700","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[23,53,24,55,26,25,176,7,31,837,30,2400,836,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc055bd98f69af8f1859b5cbed4321.jpg",[],{"id":5200,"slug":5201,"title":5202,"dynasty":283,"author":5203,"museum":114,"description":5204,"tags":5205,"thumbUrl":5206,"material":120,"size":121,"collection":85,"collections":5207,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":67},237716,"wu-sheng-shi-yi-tu-ce-huang-yi-237716","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,54,304,149,56,26,7,191,35,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daad7599809d3ad232a5bec970b5b7b.jpg",[85],{"id":5209,"slug":5210,"title":5211,"dynasty":18,"author":5212,"museum":114,"description":5213,"tags":5214,"thumbUrl":5215,"material":61,"size":39,"collection":85,"collections":5216,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":67},237649,"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[24,56,26,55,27,98,99,31,33,178,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[85,86,1587],{"id":5218,"slug":5219,"title":5220,"dynasty":18,"author":5221,"museum":131,"description":5222,"tags":5223,"thumbUrl":5227,"material":307,"size":5228,"collection":39,"collections":5229,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":89},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","崔子忠","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[5224,24,54,134,25,56,30,178,31,536,5225,5226,98,99,7,2540],"明代","家具","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":5231,"slug":5232,"title":352,"dynasty":283,"author":300,"museum":114,"description":5233,"tags":5234,"thumbUrl":5235,"material":39,"size":39,"collection":39,"collections":5236,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":67},230281,"hua-niao-ce-zhu-da-230281","《题花鸟册》是清代诗人八大山人创作的一首五言绝句。\n诗人说：想想误我害我的乃是自己的书法，现在只能靠这书法来混饭吃了。\n这是诗人对自己的书法较之于所画的石头而言。\n诗人言外之意是在说自己的石头画得好，故用米南宫的石头作一比。\n这张《石头》，就算那些要买我书法的人，对我有三顾之请，我也是不愿意给他的。\n思之误是书（1），只今南郭处（2）。\n南宫石头硬（），三顾那得去（4）。\n（1）思：想。\n误：耽误，害。\n（2）只今：如今、现在。\n南郭：复姓。\n《 ·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 ）”之一，他以大笔水墨写意画著称，尤以花鸟画见长，以简略见胜。",[24,54,56,26,7,35,28,343,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd06328a99007e276effefc6b4d8683.jpg",[],{"id":5238,"slug":5239,"title":5240,"dynasty":48,"author":5241,"museum":114,"description":5242,"tags":5243,"thumbUrl":5244,"material":39,"size":39,"collection":39,"collections":5245,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":89},228247,"dou-niu-tu-dun-min-228247","斗牛图","敦敏","郊野荒寒，枯木虬劲苍古，枝桠疏朗斜伸，带着冬日萧索静气。前景双牛犄角相抵，四蹄攒劲，肌肉紧绷贲张，将斗牛憨猛相争的张力尽显，朴拙写实，鲜活灵动。\n以静衬动，萧寂的野景衬出斗牛的生猛勃发，右上角题诗呼应画中趣味，笔墨苍简淡远，将山野朴趣与文人画的清冷意韵相融，于简约留白间晕染出悠然生机，尽显笔墨疏淡雅致的侘寂之美。",[23,5033,53,24,54,55,134,25,922,269,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37247abe557be32eff5ae6096d2856e.jpg",[],{"id":5247,"slug":5248,"title":5249,"dynasty":72,"author":2642,"museum":114,"description":5250,"tags":5251,"thumbUrl":5253,"material":39,"size":39,"collection":39,"collections":5254,"showCount":5175,"zanCount":310,"manualWeight":11,"mainColor":89},227512,"tong-xi-tu-ye-su-han-chen-227512","童戏图页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。\n\n儿童生性活泼好奇，在他们的眼里，每样事物都新奇有趣，都想要探索、尝试。而游戏、玩具不仅能启发心智，也能锻练强健的体魄，是他们用以探索世界的工具。",[23,24,54,304,134,25,30,35,7,5252],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e088f168b45c22f7031b2d125dc9812.jpg",[],{"id":5256,"slug":5257,"title":5258,"dynasty":283,"author":664,"museum":114,"description":5259,"tags":5260,"thumbUrl":5261,"material":39,"size":39,"collection":39,"collections":5262,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":67},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,24,54,55,287,56,27,26,179,743,59,178,79,1133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":5264,"slug":5265,"title":5266,"dynasty":283,"author":1603,"museum":546,"description":1604,"tags":5267,"thumbUrl":5271,"material":81,"size":1608,"collection":39,"collections":5272,"showCount":5175,"zanCount":11,"manualWeight":11,"mainColor":67},222940,"hong-lou-meng-65-sun-wen-222940","红楼梦65",[23,24,134,25,2762,2434,2645,815,5268,5269,7,3019,321,77,5270],"瓦房","圆门","红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8de757e9ba7e17f45392eb11c3405e.jpg",[],{"id":5274,"slug":5275,"title":5276,"dynasty":48,"author":3396,"museum":114,"description":3397,"tags":5277,"thumbUrl":5278,"material":120,"size":121,"collection":39,"collections":5279,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":89},290898,"xi-shan-yan-ting-zhou-tang-di-290898","溪山烟艇轴",[24,55,56,26,27,29,7,3019,33,34,836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1e51b09ce8b49bedd5ce49a6fd7358.jpg",[],18,{"id":5282,"slug":5283,"title":5284,"dynasty":283,"author":5285,"museum":114,"description":5286,"tags":5287,"thumbUrl":5289,"material":120,"size":121,"collection":39,"collections":5290,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":89},290577,"xue-jing-ren-wu-qian-long-yu-ti-zhou-zhang-peng-chong-290577","雪景人物乾隆御题轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[24,55,56,179,26,30,3195,321,7,5288,99,4823,3579],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebecd8fd68b61db612f78fd8a2c040f.jpg",[],{"id":5292,"slug":5293,"title":3395,"dynasty":48,"author":3396,"museum":114,"description":3397,"tags":5294,"thumbUrl":5295,"material":120,"size":121,"collection":39,"collections":5296,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":89},290131,"xi-shan-yan-ting-tu-tang-di-290131",[24,56,26,29,7,31,403,27,34,28,33,509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46212bb032f1cc623ce1508a316867b1.jpg",[],{"id":5298,"slug":5299,"title":5300,"dynasty":112,"author":3992,"museum":114,"description":4630,"tags":5301,"thumbUrl":5302,"material":120,"size":121,"collection":39,"collections":5303,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":67},289011,"xie-sheng-yuan-yang-tu-huang-quan-289011","写生鸳鸯图",[23,24,53,777,134,25,268,4632,7,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99eb3603f22742b8d0c861e116284f61.jpg",[],{"id":5305,"slug":5306,"title":5307,"dynasty":283,"author":5308,"museum":159,"description":5309,"tags":5310,"thumbUrl":5311,"material":39,"size":39,"collection":634,"collections":5312,"showCount":5280,"zanCount":310,"manualWeight":11,"mainColor":67},236654,"wen-ji-gui-han-wan-shan-fei-dan-xu-236654","文姬归汉纨扇","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[24,53,54,777,25,30,269,7,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F947b3912a7c51011632d767e96514f60.jpg",[634],{"id":5314,"slug":5315,"title":1194,"dynasty":283,"author":5316,"museum":159,"description":5317,"tags":5318,"thumbUrl":5320,"material":391,"size":5321,"collection":85,"collections":5322,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":67},236309,"shan-shui-zhou-weng-song-nian-236309","翁嵩年","翁嵩年（1648—1730年），字康饴，号萝轩,钱塘（今浙江杭州）人。清康熙年间进士，官户部主事，善画山水，气质古雅疏拙。著有《天香书屋稿》、《白云山房集》、《友石居集》。",[53,24,54,55,56,27,26,31,33,7,178,59,5319],"河道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0b59a3b52a3e78c6027049e7430e8c.jpg","纵102.7cm，横47.5cm",[85,86,1587],{"id":5324,"slug":5325,"title":2032,"dynasty":283,"author":300,"museum":114,"description":3697,"tags":5326,"thumbUrl":5327,"material":120,"size":121,"collection":39,"collections":5328,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":67},235501,"za-hua-ce-zhu-da-235501",[24,54,304,56,26,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ce19639d6f304ac73bd744555c4c98.jpg",[],{"id":5330,"slug":5331,"title":1386,"dynasty":283,"author":300,"museum":114,"description":5332,"tags":5333,"thumbUrl":5334,"material":39,"size":39,"collection":39,"collections":5335,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":67},235171,"shan-shui-ce-zhu-da-235171","此作用笔简逸疏淡，以淡墨晕染山川林舍。枯笔轻擦山峦，略去繁复勾勒，留白处如清岚漫卷，虚实相生间晕开幽寂萧疏之致。近林木枝错落，寥寥数笔便写尽枯荣之态，溪桥茅舍隐于林麓，暗合隐逸幽思。\n\n画面删繁就简，以少胜多，淡墨氤氲间流淌着清冷荒疏的意趣，极简构图藏尽天地简寂之美。笔墨省净却意蕴悠长，将孤高淡远的文人襟怀融于尺幅之中，观之如临空山幽境，漫溢着清寂澹泊的悠悠诗意。",[24,56,27,304,26,7,32,57,376,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb2b0a291c767c8af5f2b34d2e4db7b.jpg",[],{"id":5337,"slug":5338,"title":5006,"dynasty":283,"author":858,"museum":159,"description":5339,"tags":5340,"thumbUrl":5341,"material":1489,"size":5125,"collection":39,"collections":5342,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":67},234999,"yuan-ji-shan-shui-tu-ce-shi-tao-234999","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[53,24,54,304,56,25,26,7,31,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4125a44cb17a489613587b83a15c7d5a.jpg",[],{"id":5344,"slug":5345,"title":5346,"dynasty":18,"author":284,"museum":114,"description":5347,"tags":5348,"thumbUrl":5349,"material":120,"size":121,"collection":39,"collections":5350,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":67},234970,"qian-gu-hou-chi-bi-tu-shan-ye-yi-ming-234970","钱穀后赤壁图扇页","此作用泥金扇面为底，左畔危岩崚嶒，以硬朗线条勾勒山石轮廓，淡墨皴擦出嶙峋肌理，枯木虬枝错杂，苍劲尽显萧索秋意。右方留白作平湖，汀渚隐现，淡墨晕染远山，空濛悠远，暗合赤壁夜游的清旷之境。边角小字题款，书画相映，笔墨简澹却意韵悠长，将初冬泛舟的幽寂旷达，凝缩在咫尺扇面间，尽显文人山水的隐逸意趣，古雅沉静，余味悠然。",[777,24,54,56,27,26,7,59,177,3830,98,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72bfe96b7ed4a3d63fff780dbb8b03a.jpg",[],{"id":5352,"slug":5353,"title":5354,"dynasty":283,"author":2741,"museum":159,"description":5355,"tags":5356,"thumbUrl":5357,"material":733,"size":5358,"collection":39,"collections":5359,"showCount":5280,"zanCount":11,"manualWeight":11,"mainColor":67},233869,"xi-shan-fang-mu-tu-zhou-cha-shi-biao-233869","溪山放牧图轴","此幅绘一河两岸的空旷景致。构图简洁，平远取势。多以侧锋行笔，线条于精细处见苍劲，富有变化和表现力度，是查氏学倪瓒画风的代表作之一。",[24,56,26,55,27,585,7,608,31,3580,178],"https:\u002F\u0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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。",[24,54,304,287,25,26,191,7,78,30,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a42c893bae003e77b5a840a78e92b5c.jpg",[],{"id":5489,"slug":5490,"title":5491,"dynasty":18,"author":284,"museum":114,"description":5492,"tags":5493,"thumbUrl":5494,"material":39,"size":39,"collection":39,"collections":5495,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":67},237636,"song-xu-xue-jiang-du-diao-tu-zhou-yi-ming-237636","宋旭雪江独钓图轴","此作用淡墨留白晕染出萧寒江雪，山峦素裹银装，留白衬出积雪的厚重莹润，远山淡渺隐于寒雾，虚实相生，铺就江天空阔辽远的冬日底色。近岸枯木凝雪，虬枝劲挺，虽带冬日萧索却不失清刚之态。滩头寒石隐现，细流凝冰，愈发衬出江风凛冽。扁舟泊于岸侧，渔翁瑟缩船头独钓，于天地冷寂间，晕开一缕孤高隐逸的意趣。全画笔法秀雅简淡，以极简笔墨勾勒出江雪寒林的荒寒之美，将幽人寄情山水、孤高自适的襟怀融于冷寂雪景之中。",[24,56,55,27,26,179,29,509,7,78,31,177,1122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc940a1841726368ad68f75503a2d9d9f.jpg",[],{"id":5497,"slug":5498,"title":5499,"dynasty":283,"author":664,"museum":131,"description":5500,"tags":5501,"thumbUrl":5502,"material":61,"size":39,"collection":85,"collections":5503,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":67},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","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。",[24,54,304,56,287,27,99,26,191,100,7,57,1800,376,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[85],{"id":5505,"slug":5506,"title":1386,"dynasty":283,"author":5507,"museum":114,"description":5508,"tags":5509,"thumbUrl":5510,"material":81,"size":39,"collection":85,"collections":5511,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":67},236496,"shan-shui-ce-cheng-ming-236496","程鸣","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[24,54,304,56,27,26,31,178,7,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36e79a5f9b30c0ba5a08df138da30a.jpg",[85,277],{"id":5513,"slug":5514,"title":5515,"dynasty":283,"author":3747,"museum":114,"description":5516,"tags":5517,"thumbUrl":5518,"material":39,"size":39,"collection":39,"collections":5519,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":67},235857,"qiu-shan-tu-ye-fan-qi-235857","秋山图页","此作用笔简秀清雅，以淡墨晕染出空濛烟霭，远山隐没在寒雾之中，只留浅淡轮廓，尽显秋日山空的疏寂。近景枯木虬枝错落，苍劲古拙，板桥横跨浅溪，石畔秋意萧索，寥寥数笔便勾勒出深秋山林的清冷之态。\n\n对页题诗与画意呼应，书画合璧，将荒寒淡远的林泉逸趣烘托尽致。淡彩轻敷，留白写意，铺陈出澹泊宁和的山水诗意，仿佛将人带入清寂幽远的秋日丘壑，沉浸式感受这份沉静内敛的古韵幽情，尽显文人山水的清雅意致。",[24,54,304,56,26,7,35,57,117,256,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673113de5c7f14f0084268c94e28ccf.jpg",[],{"id":5521,"slug":5522,"title":4474,"dynasty":283,"author":284,"museum":114,"description":5523,"tags":5524,"thumbUrl":5525,"material":39,"size":39,"collection":39,"collections":5526,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":67},235160,"hong-ren-shan-shui-ce-yi-ming-235160","此作为诗画合璧，行书题笔隽雅清逸，与山水景致相映成趣。淡墨轻扫出平远秋湖之景，远山如黛晕染天际，汀渚渔舍错落浅滩，不见浓墨重彩，唯有疏淡笔墨勾勒出水乡秋寂。左下角枯木疏枝清隽，湖面扁舟随波，似载着题诗里的秋闲意趣。\n整体萧散极简，脱尽繁缛，以清和淡墨铺就幽旷静穆的氛围，将秋日湖港泊舟的闲适禅意晕开，诗画相生，尽显文人山水的简淡天真，观之如临秋水，心神亦随之沉敛安宁，悠悠野趣藏于留白淡墨之间。",[24,56,304,27,98,26,29,7,58,230,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcefcc066a3d8ae189ca1d151c47dd72.jpg",[],{"id":5528,"slug":5529,"title":4474,"dynasty":283,"author":284,"museum":114,"description":5530,"tags":5531,"thumbUrl":5533,"material":39,"size":39,"collection":39,"collections":5534,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":67},235156,"hong-ren-shan-shui-ce-yi-ming-235156","这帧册页诗画合璧，题字清隽舒展，笔墨雅致，诗境画境相融相生。\n\n下方小品以淡墨写就林石秋景，枯木疏朗错落，姿态古拙清逸，枝桠虬曲暗含生机。坡石简淡勾勒，略施皴擦便见嶙峋质感，留白悠远空灵，烘托出江南秋后的清寥意韵。整体画风萧散简远，冷寂出尘，以极简笔墨营造幽远超脱的意境，尽显静穆淡远的文人雅韵，观之如临秋水林泉，涤荡俗尘。",[24,54,304,56,27,149,26,7,31,474,5532],"岩壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b760ce36c1d513723846efb9e15a72.jpg",[],{"id":5536,"slug":5537,"title":5121,"dynasty":283,"author":858,"museum":159,"description":5122,"tags":5538,"thumbUrl":5539,"material":61,"size":5125,"collection":39,"collections":5540,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":67},233128,"yuan-ji-shan-shui-ce-shi-tao-233128",[24,54,304,56,25,27,26,78,33,32,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4ac134c0a0d2cc60b898eb588378dc.jpg",[],{"id":5542,"slug":5543,"title":5544,"dynasty":18,"author":4900,"museum":114,"description":5545,"tags":5546,"thumbUrl":5547,"material":391,"size":5548,"collection":39,"collections":5549,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":67},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[23,24,56,27,55,26,534,7,321,608,31,191,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":5551,"slug":5552,"title":5553,"dynasty":18,"author":2694,"museum":114,"description":5554,"tags":5555,"thumbUrl":5556,"material":39,"size":39,"collection":39,"collections":5557,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":89},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","寒江钓艇图","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[24,54,55,18,25,134,29,509,7,1122,179,99,26,5066],"https:\u002F\u002Foss.chuangqi.store\u002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·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,53,24,56,27,55,26,321,474,7,800,377,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":5567,"slug":5568,"title":5569,"dynasty":72,"author":284,"museum":159,"description":5570,"tags":5571,"thumbUrl":5573,"material":1470,"size":5574,"collection":39,"collections":5575,"showCount":5435,"zanCount":11,"manualWeight":11,"mainColor":89},223454,"shan-po-lun-dao-tu-ye-yi-ming-223454","山坡论道图页","这幅画站在山中间，有几根竹枝。 左侧像桃花。 一个和尚和一个男人隐约出现； 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幅中坡石皆用斧劈法侧斜横皴，用笔凝重，墨色浓郁，画法齐整严谨。以笔墨论，或是出於南宋后期受李唐风格影响者所作。",[24,825,56,179,5815,922,117,230,7,32,5816,31],"牛车","石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[83],15,{"id":5822,"slug":5823,"title":5824,"dynasty":72,"author":494,"museum":131,"description":5825,"tags":5826,"thumbUrl":5828,"material":120,"size":121,"collection":39,"collections":5829,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":89},288423,"hua-deng-shi-yan-tu-yi-ma-yuan-288423","华灯侍宴图一","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。",[24,53,55,25,402,77,7,230,713,5827,98,99],"华灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eb711a93e2c337fe8675e725c8cd0a.jpg",[],{"id":5831,"slug":5832,"title":5833,"dynasty":112,"author":1883,"museum":114,"description":5195,"tags":5834,"thumbUrl":5836,"material":120,"size":121,"collection":39,"collections":5837,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":89},288267,"yan-ai-qiu-she-tu-zhou-zhao-gan-288267","烟霭秋涉图轴",[23,53,24,55,56,26,27,7,31,30,836,5835],"涉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f41603a217be642ab6b5d58c51d57e2.jpg",[],{"id":5839,"slug":5840,"title":5841,"dynasty":18,"author":1464,"museum":114,"description":5842,"tags":5843,"thumbUrl":5844,"material":120,"size":121,"collection":39,"collections":5845,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":89},287778,"si-shi-shan-shui-zhi-dong-jing-wu-wei-287778","四时山水之冬景","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[23,24,56,26,55,1499,7,31,30,585,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9a530c4bb5dddcfe3b8cffba615fb.jpg",[],{"id":5847,"slug":5848,"title":5849,"dynasty":283,"author":2741,"museum":114,"description":5850,"tags":5851,"thumbUrl":5853,"material":120,"size":121,"collection":39,"collections":5854,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":89},287763,"fang-yun-lin-shan-shui-cha-shi-biao-287763","仿云林山水","查士标，查士标（1615-1698） ，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。",[24,56,26,55,287,98,99,7,191,5852],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad3e85835ca1b452c5ebd01bb0bc60c.jpg",[],{"id":5856,"slug":5857,"title":5858,"dynasty":18,"author":5859,"museum":114,"description":5860,"tags":5861,"thumbUrl":5862,"material":39,"size":39,"collection":85,"collections":5863,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":89},239225,"ju-jie-shan-shui-zhou-ju-jie-239225","居节山水轴","居节","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[53,24,54,55,56,27,26,31,178,7,32,376,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[85],{"id":5865,"slug":5866,"title":5867,"dynasty":72,"author":2176,"museum":114,"description":5868,"tags":5869,"thumbUrl":5870,"material":39,"size":39,"collection":39,"collections":5871,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":89},238957,"guan-shan-ji-xue-tu-ye-yan-su-238957","关山积雪图页","层峦素雪覆裹，棱脉以淡墨皴擦晕染，将隆冬山巅的萧寒厚重尽显。枯木虬枝错落山间，褪去芳华尽显遒劲风骨，山坳茅舍隐现板桥通途，车马徐行于雪径，为冷寂天地晕开些许烟火暖意。\n\n右上林峦间佛塔藏幽，左上危崖栈道飞桥凌虚，为山水添出世清寂。整作设色古雅简澹，以赭石托出积雪留白，融全景山势的辽远与边角意趣于一体，在荒寒冬景里暗渡生息，尽显于萧寒中暗藏温柔生机的山水意韵。",[24,25,27,2855,26,319,1133,7,78,33,191,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f78e16e9053b9cf2cbd0db2de712553.jpg",[],{"id":5873,"slug":5874,"title":5875,"dynasty":18,"author":284,"museum":114,"description":5876,"tags":5877,"thumbUrl":5878,"material":120,"size":121,"collection":39,"collections":5879,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[24,54,55,25,134,27,26,30,77,178,815,57,403,32,2398,935,7,321,3850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":5881,"slug":5882,"title":1386,"dynasty":283,"author":5883,"museum":114,"description":5884,"tags":5885,"thumbUrl":5888,"material":39,"size":39,"collection":85,"collections":5889,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":89},237896,"shan-shui-ce-cheng-hui-hao-237896","程徽灏","此作以枯淡笔墨绘就秋山幽居，浅绛设色晕染出清秋山林萧疏之致。山峦以披麻皴写意铺展，笔意松脱苍劲，淡墨晕开云气，衬出山峦空濛悠远。溪岸林木错落，木叶疏朗，茅舍板桥隐逸其间，野趣悠然自生。\n\n题款与画面浑然相融，留白衬出山川空寂，将林泉高致的隐逸情怀寄于尺幅间。简笔勾勒却骨力暗藏，淡墨轻敷而意韵悠长，尽显文人山水小品的雅致风骨，于浅淡中尽显林下风流。",[24,56,27,304,26,191,28,31,178,7,5886,2123,3258,5887],"山体","皴染结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e88565ddc648d685889817fc186807.jpg",[85,86],{"id":5891,"slug":5892,"title":1386,"dynasty":283,"author":1797,"museum":2207,"description":5893,"tags":5894,"thumbUrl":5895,"material":39,"size":39,"collection":85,"collections":5896,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},236737,"shan-shui-ce-hua-yan-236737","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,304,56,27,98,99,26,35,29,377,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b1906b09e35a616d2a87598efa8e.jpg",[85,86],{"id":5898,"slug":5899,"title":5900,"dynasty":18,"author":2304,"museum":159,"description":5901,"tags":5902,"thumbUrl":5903,"material":37,"size":5904,"collection":634,"collections":5905,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},236403,"ji-fou-tu-zhou-zhang-hong-236403","击缶图轴","图绘村边平坡，老树几株，一人击缶，一人起舞，男女老少多人围观。构图疏朗，用笔率意简放。树石仅用阔笔草草写出，人物线条迅疾多变，突出了坐、立、蹲、行等不同动态，笔简意赅，神完气足。此图将乡间民众娱乐生活的瞬间刻画得活灵活现，淋漓尽致。",[24,25,56,30,7,35,2094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5439d0806a75e6365375005f527e52.jpg","纵42.8厘米，横59厘米",[634,277,1587],{"id":5907,"slug":5908,"title":5909,"dynasty":18,"author":19,"museum":114,"description":5910,"tags":5911,"thumbUrl":5912,"material":39,"size":39,"collection":39,"collections":5913,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},234628,"fang-fan-kuan-shan-shui-shan-ye-lan-ying-234628","仿范宽山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[777,56,27,287,26,29,191,7,31,57,30,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc72bbb506c453f91f6e75f20782db.jpg",[],{"id":5915,"slug":5916,"title":4190,"dynasty":72,"author":284,"museum":159,"description":5917,"tags":5918,"thumbUrl":5920,"material":244,"size":4195,"collection":39,"collections":5921,"showCount":5820,"zanCount":310,"manualWeight":11,"mainColor":89},233811,"han-ting-luo-yan-tu-zhou-yi-ming-233811","此图画古木栖鸦，寒汀落雁。树下芦早疏疏，十数大雁、野鸭分两组栖于岸边，其态悠闲。",[24,53,54,55,56,25,26,7,3111,5919,176,27],"水边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59211b1b7d5c6f3104b8131f33873b5f.jpg",[],{"id":5923,"slug":5924,"title":5925,"dynasty":18,"author":628,"museum":1257,"description":5926,"tags":5927,"thumbUrl":5929,"material":81,"size":5930,"collection":39,"collections":5931,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[53,24,54,55,56,27,26,178,7,31,79,608,3923,5928],"丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":5933,"slug":5934,"title":5935,"dynasty":283,"author":2989,"museum":114,"description":5936,"tags":5937,"thumbUrl":5938,"material":39,"size":39,"collection":39,"collections":5939,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},230966,"zhong-kui-tan-mei-tu-jin-ting-biao-230966","钟馗探梅图","寒雪覆地，万木凝霜，虬曲老树裹着厚雪，萧索中透着清寂。画面主角敛去往日凶煞，化身乡野翁叟，斗笠覆顶，肩负梅枝，踏过小桥时眉眼松弛，似为寻得暗香忘却本职，只剩踏雪寻芳的悠然。身后小童缩着脖颈，挑着伞盖匆匆随行，憨态可掬。\n整作以淡墨晕开茫茫雪色，线条朴拙简练，将神威仙灵世俗化，把凌冬雅趣与俗世温情相融，打破固有狞厉印象，以寻常行旅的温情图景，消解题材自带的肃杀，尽显隆冬寻梅的闲逸诗意。",[24,54,25,134,30,1056,5816,1133,7,136,179,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ef8da1600122e28775a7e31276ba9e.jpg",[],{"id":5941,"slug":5942,"title":5943,"dynasty":72,"author":1021,"museum":114,"description":5944,"tags":5945,"thumbUrl":5946,"material":39,"size":39,"collection":39,"collections":5947,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},227979,"xing-lv-tu-ye-liang-kai-227979","行旅图页","此作取景极简，半边巨峰巍峨矗立，山石以斧劈皴利落勾勒棱线，淡墨晕染出积雪覆山的清寒意态。崖下枯木虬曲遒劲，枝桠交错间尽显冬日荒寒。山脚处旅人策蹇徐行，渺小身影衬得山岳愈发沉浑大气，留白铺就出辽远空寂的江天。\n整幅笔简意繁，以苍劲简逸的笔墨，将羁旅天涯的孤寂况味藏于尺幅之间，把冬日山行的荒寂清冷烘托尽致，意境幽远耐品，尽显水墨写意的精妙。",[23,24,54,53,26,304,27,31,7,178,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27fc4d514243e15127ce1f8cc64c78d1.jpg",[],{"id":5949,"slug":5950,"title":5951,"dynasty":72,"author":5768,"museum":114,"description":5952,"tags":5953,"thumbUrl":5954,"material":39,"size":39,"collection":39,"collections":5955,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":89},227409,"ying-gu-tu-ye-li-you-227409","鹰鹘图页","宋代画家李游，长于雄鹰，有灵性的态度和优秀的音乐。 学画那两只坐在枯树上的老鹰，看上去十分悠闲，略带了猛禽凶猛的模样，却依然英姿飒爽。",[23,53,24,54,134,25,176,268,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b691bdf35dcf11c904d1e69d7cdd8a8.jpg",[],{"id":5957,"slug":5958,"title":5959,"dynasty":283,"author":664,"museum":114,"description":5960,"tags":5961,"thumbUrl":5962,"material":39,"size":39,"collection":39,"collections":5963,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},224459,"hua-hui-shan-shui-he-ce-1-7-wang-hui-224459","花卉山水合册1-7","此作用水墨写就冬日林泉之景，枯木虬曲苍劲，扎根嶙峋岩岸，间有翠松点染，于萧寒里暗蕴生机。山岩以干笔皴擦勾勒，朴拙厚重的棱角间，溪涧萦回、细瀑垂落，静景暗藏动势。远景以淡墨晕染烟霭，水天相融朦胧悠远，归雁掠过长空，更衬荒寒清寂。\n\n左侧题款朱印点缀，文气与画意浑然相融。全作用枯淡笔触铺陈萧疏之境，于极简中晕染出澹泊诗意，将冬日林泉的幽寂清远刻画尽致，笔意苍秀兼具，尽显文人山水雅逸格调，是以简驭繁的水墨佳作。",[23,24,53,54,304,56,27,26,7,59,176,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0081d806b4ce52c4d8230dfefa4b761b.jpg",[],{"id":5965,"slug":5966,"title":5967,"dynasty":283,"author":5968,"museum":114,"description":5969,"tags":5970,"thumbUrl":5971,"material":39,"size":39,"collection":39,"collections":5972,"showCount":5820,"zanCount":310,"manualWeight":11,"mainColor":67},224283,"shan-shui-hua-hui-ce-shi-si-fu-shan-224283","山水花卉冊(十四)","傅山","此作用色浅淡温润，以淡赭晕染崖壁，弱化山石棱角锋芒，尽显朴拙沉静的质感。前景枯林疏枝以简笔勾勒，不着浓墨修饰，空留出大片水泽，衬出山野空寂。远山仅以淡墨轻扫，虚实相生间拉开悠远层次。\n\n全画笔墨极简，不尚繁复描摹，以写意之法直抒胸臆，将萧散淡远的林下襟怀藏于淡远景致之中，静穆古雅的气质漫溢纸面。方寸间尽是冬日空山的清寂氛围，淡而不寡，简而不空，把胸中丘壑化作纸上清景，尽显文人画以意驭形的悠长余韵。",[23,24,54,304,56,27,26,7,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347803b95215729f574e8f7396313f9c.jpg",[],{"id":5974,"slug":5975,"title":5976,"dynasty":72,"author":2176,"museum":131,"description":5977,"tags":5978,"thumbUrl":5980,"material":140,"size":5981,"collection":85,"collections":5982,"showCount":5820,"zanCount":11,"manualWeight":11,"mainColor":67},218697,"han-pu-yu-zeng-tu-yan-su-218697","寒浦渔罾图","寒江凝碧，枯柳疏枝斜倚滩头，雪屑轻覆芦荻，晕开一层冷寂。渔罾静悬水面，似在寒雾中守着时光的缓流。旁侧题诗与画面相契，“五枝辛苦生涯”的低语，衬出渔者于风雪里的安然。笔墨简淡却含深意：枯笔勾出柳枝的苍劲，淡墨晕染江天的空濛，雪的留白与芦荻的点染相映，将冬日江浦的清寒与生机揉合。没有繁复铺陈，只以极简意象写尽寒浦孤寂与韧性，读来如临江畔，冷风拂面时，却见渔火隐约的暖意，于清冷中藏着生活的本真。",[23,53,24,54,304,25,26,34,7,28,58,5979,2426],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ef4407f2b72d6c52f3f00a910f9574.jpg","25.8x26.3cm",[85],{"id":5984,"slug":5985,"title":5986,"dynasty":72,"author":284,"museum":114,"description":5987,"tags":5988,"thumbUrl":5989,"material":120,"size":121,"collection":39,"collections":5990,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":89},289010,"jiang-shan-ji-xue-tu-yi-ming-289010","江山霁雪图","此作用高远与平远构图铺展景致，左侧巨峰积雪覆顶，青绿晕染山峦，温润雅致又不失厚重苍劲。淡墨晕开江面空蒙，留白衬出江天萧寒澄澈。\n\n山脚村居隐于枯木疏枝之下，对岸汀渚间寺宇错落，烟波浩渺间尽显冬霁清旷。山石皴擦带着北派山水的雄浑质感，设色古雅沉静，将雪初晴后江山的冷寂辽远，与乡居的静谧安然相融，尽抒寄情林泉的幽远意趣。",[53,24,825,813,25,179,26,77,32,7,305,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb70e65ad9c770a86cf194c313fb816.jpg",[],14,{"id":5993,"slug":5994,"title":5995,"dynasty":18,"author":330,"museum":114,"description":3865,"tags":5996,"thumbUrl":5997,"material":120,"size":121,"collection":39,"collections":5998,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},283641,"shan-shui-tu-chu-tian-qing-xiao-dong-qi-chang-283641","山水图(楚天清晓)",[23,53,24,54,55,56,26,78,33,7,31,231,27,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e6c5f60900682bcca2421464d12b76.jpg",[],{"id":6000,"slug":6001,"title":6002,"dynasty":283,"author":6003,"museum":114,"description":6004,"tags":6005,"thumbUrl":6006,"material":39,"size":39,"collection":86,"collections":6007,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},238945,"lin-yue-se-tu-ce-ye-xu-fang-ping-238945","林月色图册页","徐方平","此作用淡墨晕开空蒙月色，枯木疏枝错落伸展，勾勒出秋夜林野的清寂轮廓。山溪蜿蜒穿林，板桥横卧浅流，策杖行人驻足于侧，冷寂夜色里添了些许动静对比。笔触清润秀雅，取法北宗淡远意趣，铺展出幽旷林泉之境，将月夜林间的萧寒静谧尽数晕开。把羁旅闲步的清寂意趣与林泉幽怀相融，尽显文人画简淡出尘的诗意，仿佛让人踏入这片溶溶月色下的平林，浸身于澄澈安宁的夜色中。",[24,54,304,56,25,26,7,898,78,33,30,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa1474cbd2b9cb76aef5844274a64e1.jpg",[86],{"id":6009,"slug":6010,"title":6011,"dynasty":283,"author":6012,"museum":114,"description":6013,"tags":6014,"thumbUrl":6015,"material":39,"size":39,"collection":39,"collections":6016,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},238416,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238416","董诰蓬壶荟胜图册","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”。",[24,25,304,27,99,26,77,78,33,79,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cbb988ed758695caf9aed77e20869d.jpg",[],{"id":6018,"slug":6019,"title":6020,"dynasty":18,"author":628,"museum":114,"description":6021,"tags":6022,"thumbUrl":6023,"material":39,"size":39,"collection":39,"collections":6024,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":89},235678,"ren-wu-shan-shui-zhou-chen-hong-shou-235678","人物山水轴","此作以上下开合铺展景致，上部危崖嵯峨，古柏虬枝盘曲如铁，与枯木疏枝相映，萧寂中带着苍古意趣。林间茅亭内，宾主围坐清谈，意态安闲自在。\n\n下部清溪石隐，板桥横斜，柴门将山居幽庭藏于林石之间，把山野独处的静穆悠远缓缓铺陈而出。\n\n笔墨朴拙高古，勾勒挺劲沉稳，设色浅淡素雅，将江南山居的隐逸之致，文人雅聚的澹泊襟怀揉入尺幅，静穆古雅，尽显幽寂出尘的林下之风。",[24,54,55,134,27,25,26,30,191,7,31,78,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcbf07ee97fe5196225b70c1ee21c4d0.jpg",[],{"id":6026,"slug":6027,"title":6028,"dynasty":18,"author":284,"museum":114,"description":6029,"tags":6030,"thumbUrl":6031,"material":39,"size":39,"collection":39,"collections":6032,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[24,54,55,56,25,27,26,77,178,29,33,99,536,177,7,57,2402,910,5400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],{"id":6034,"slug":6035,"title":5006,"dynasty":283,"author":858,"museum":159,"description":5339,"tags":6036,"thumbUrl":6037,"material":1489,"size":5125,"collection":39,"collections":6038,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},235004,"yuan-ji-shan-shui-tu-ce-shi-tao-235004",[53,24,54,56,25,27,304,98,99,26,30,7,403,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1d5969137e19a3568085176acf242b.jpg",[],{"id":6040,"slug":6041,"title":6042,"dynasty":283,"author":6043,"museum":114,"description":6044,"tags":6045,"thumbUrl":6046,"material":39,"size":39,"collection":39,"collections":6047,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},234671,"shan-shui-shan-mian-hou-fang-yu-234671","山水扇面","侯方域","侯方域（1618年4月—1655年1月），字朝宗，明朝归德府（今河南商丘）人，明末清初散文家，散文三大家之一、明末“四公子”之一、复社领袖。\n侯方域是明户部尚书侯恂之子，祖父及父辈都是东林党人，均因反对宦官专权而被黜。明朝灭亡后，侯方域流落江南，明亡后参加科举，为时人所讥：“两朝应举侯公子，忍对桃花说李香。”晚年失悔此举。 网上引用清史稿只言片语，说侯方域为做清朝官而献计于清军直隶山东河南三省总督张存仁，镇压榆园军起义。但并非如此，侯方域在清顺治七年春，因张存仁访其父，不得已上泛泛而谈的《上三省督府剿抚议》，且张存仁在顺治八年才水淹榆园军。在35岁时，回想起自己遭遇坎坷，除诗文一无所成，悔恨不已，又因违心参与顺治八年乡试，认为自己失节于明，便将其书房更名为“壮悔堂”，表示其壮年后悔之意。在这里，完成了他的两部文集《壮悔堂文集》10卷、《四忆堂诗集》6卷明志。\n清朝顺治十一年十二月十三日（1655年1月30日），37岁的侯方域因国破家亡，复明无望，壮志难酬，郁闷在怀和思念香君，染病身亡。\n侯方域与冒襄、陈贞慧、方以智，合称明末“四公子”，有代表作《李姬传》。清初作家孔尚任撰《桃花扇》剧本，描写的就是侯方域与秦淮名姬李香君的爱情故事，侧面反映了明亡清兴的历史背景。",[24,54,777,26,56,27,7,31,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2c3bb17af8e5f52cc5fb44cd14d8c9.jpg",[],{"id":6049,"slug":6050,"title":6051,"dynasty":283,"author":2741,"museum":114,"description":6052,"tags":6053,"thumbUrl":6054,"material":39,"size":39,"collection":39,"collections":6055,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[24,54,55,56,27,26,100,474,31,305,57,753,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":6057,"slug":6058,"title":6059,"dynasty":18,"author":6060,"museum":159,"description":6061,"tags":6062,"thumbUrl":6063,"material":164,"size":6064,"collection":39,"collections":6065,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":89},233458,"shan-cun-tu-zhou-li-zai-233458","山村图轴","李在","图绘山间村落，巨峰如障，溪流坡岸，人物舟船，房屋俨然。作品取全景式山水，构图饱满，气势宏阔，皴笔细密扎实，墨韵浑厚。山石的卷云皴法和树木的“蟹爪枝”画法来自北宋郭熙，而用笔较为粗放率意，兼具南宋马远、夏圭之意，这种融南北宋于一体的画法是李在的本色面貌。画面以雄壮的山川衬托村居生活之平和气息，颇具怡然闲适之意趣。",[24,55,26,27,56,31,7,28,77,32,57,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5bbda67d2037904f15230fec65c4a8.jpg","纵135厘米，横76厘米",[],{"id":6067,"slug":6068,"title":6069,"dynasty":283,"author":858,"museum":114,"description":6070,"tags":6071,"thumbUrl":6072,"material":61,"size":6073,"collection":39,"collections":6074,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},233386,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233386","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,56,26,7,31,178,230,271,32,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435bc7272985c485bd8f4ebb1b716b7b.jpg","纵24.6cm横17.6cm",[],{"id":6076,"slug":6077,"title":6078,"dynasty":283,"author":6079,"museum":114,"description":6080,"tags":6081,"thumbUrl":6082,"material":39,"size":6083,"collection":39,"collections":6084,"showCount":5991,"zanCount":310,"manualWeight":11,"mainColor":67},232608,"fang-gu-shan-shui-tu-ce-jiao-xun-232608","仿古山水图册","焦循","近处坡岸垂柳疏朗，柔细枝条苍劲兼具，淡墨勾勒出清寂之态。一江春水横陈，扁舟载着披蓑隐士随波泛游，独览两岸烟光。远山以淡墨晕染平缓延绵，留白铺就江面云气，空濛悠远。\n\n左上角题诗点缀，诗书与画境相融，悠悠禅意漫开。全作用白描淡墨写就，舍弃浓艳敷色，尽显文人画简澹萧散之趣，将春日江野的清旷与幽居散人的隐逸襟怀合而为一，笔底尽是静穆淡远的林下之风，观之如临江凭眺，涤尽尘嚣。",[24,54,304,56,149,287,26,29,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d849c4bec9c9da923566ecd5c0af13.jpg","23.2 x 30cm",[],{"id":6086,"slug":6087,"title":2794,"dynasty":283,"author":5968,"museum":20,"description":6088,"tags":6089,"thumbUrl":6090,"material":6091,"size":6092,"collection":39,"collections":6093,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},232580,"shan-shui-hua-hui-ce-fu-shan-232580","傅山傅眉《山水花卉冊》，该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开，绢本纸本均有，设色水墨俱全。纵25.7厘米，横25.2厘米，现藏于天津博物馆。\n傅山（1607-1684），明末清初思想家、书画家。善诗、书、画、其画山林，气概浩荡，骨格奇峭，丘壑磊落，有奇逸气势；间写竹石，不落恒蹊，超然出尘。因常披朱衣，故号朱衣道人。晚年喜欢苦酒，自称“老蘖禅”。\n傅眉（1628—1683）,傅山之子，字寿髦，一作寿毛，一字竹岭，自号小蘖禅，山西阳曲人。工诗书画，亦能篆刻，山水学父法古朴而有真趣。",[53,24,56,304,27,26,35,7,57,2221,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673a2f02dd0a60f1669bc67d8546001d.jpg","绢本纸本","纵25.7厘米，横25.2厘米",[],{"id":6095,"slug":6096,"title":1962,"dynasty":18,"author":4655,"museum":131,"description":6097,"tags":6098,"thumbUrl":6099,"material":4310,"size":6100,"collection":39,"collections":6101,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":89},231380,"xue-ye-fang-dai-tu-zhou-wen-jing-231380","此图画东晋王徽之雪夜乘舟访问朋友戴达的故事。王徽之，东晋琅玡临沂(今属山东)人，字子猷，王羲之之子。曾任桓温的参军，性格浪漫，联拘小节。居山阴（今浙江绍兴）时，夜大雪，眠觉开室命酌酒。四望皎然，因乐彷徨，咏左思《招隐诗》，忽忆戴安道（戴达）。时戴在剡（今浙江嵊州），便夜乘小船就之。经宿方至，造门不前而返。人问其故，王曰：[吾本乘兴而行，兴尽而返，何必见戴？]该幅即画此故事分情节。用笔老辣，烘染精到，设色雅淡。\n该画表现的是晋朝王徽之的故事。故事为某夜徽之于梦中醒来，见雪后初霁，月色皎洁，突然萌发拜访好友戴逵的念头。于是，不顾路遥夜深，雇船前往。但到了目的地，徽之又放弃了与戴逵见面的打算，沿江返回。别人不解地问他为何这么做，他说：“乘兴而来，兴尽而返，岂必见安道耶?”正因为他与戴逵都是性情中人，卓荦不羁，故两人的友谊好像也升华为形而上的境界。在徽之看来，友谊重在心中而非形式，见面与否了无差别。这种带有禅意的观点被传为佳话，并且成为后世画家笔下喜欢表现的题材。\n《雪夜访戴》图中，一只小船行驶在江面，站在船头、船尾的梢公奋力地划着；船上蓬中透着微弱的灯光，显见夜色已深；蓬外有一童仆，蓬内的人大概就是王徽之了。全画构图简约旷远，用笔虚多实少，着力于对“夜访”主题的渲染，营造了画面的气氛：近处墨色较深，远处墨色朦胧，坡岸上及被夜色遮掩的茅屋顶上覆盖着白雪，虚灵空潆的笔调，显示出雪夜的寂静和寒冷，真是一幅令人心旷神怡的雪夜行舟图。画中山、石、树木的处理，有马远的笔法，而积雪则有元人韵味。",[24,26,55,56,27,29,30,7,413,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a3c7b82a51466d66d727a37a78efe2.jpg","纵：161.5，横：93.9厘米",[],{"id":6103,"slug":6104,"title":6105,"dynasty":72,"author":4683,"museum":114,"description":6106,"tags":6107,"thumbUrl":6108,"material":39,"size":39,"collection":39,"collections":6109,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":89},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,24,54,304,56,26,137,2586,7,375,29,34,27,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":6111,"slug":6112,"title":6113,"dynasty":2882,"author":2883,"museum":114,"description":2884,"tags":6114,"thumbUrl":6119,"material":120,"size":121,"collection":2898,"collections":6120,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},225907,"breakup-of-ice-grey-weather-1880-mo-nai-225907","Breakup of Ice, Grey Weather, 1880",[2887,2886,6115,2893,6116,58,7,6117,6118,4383],"光影表现","破冰","建筑群","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d984b2d599ac77589c8f445a201b41.jpg",[2898],{"id":6122,"slug":6123,"title":6124,"dynasty":18,"author":19,"museum":6125,"description":4200,"tags":6126,"thumbUrl":6129,"material":25,"size":39,"collection":39,"collections":6130,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},222588,"shan-shui-tu-shan-mian-2-lan-ying-222588","山水图扇面2","浙江省博物馆",[23,777,24,26,321,31,6127,6128,7,27,56,25],"亭屋","飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8fd29104ad247fbd9575e0f584ac299.jpg",[],{"id":6132,"slug":6133,"title":6134,"dynasty":283,"author":697,"museum":159,"description":6135,"tags":6136,"thumbUrl":6137,"material":61,"size":6138,"collection":39,"collections":6139,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},220310,"huang-shan-tu-ce-17-hong-ren-220310","黄山图册-17","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,53,24,54,304,56,27,26,1448,321,7,78,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff649b35ce22bc63f5fdd792060a6e.jpg","21.5x18.3厘米",[],{"id":6141,"slug":6142,"title":6143,"dynasty":18,"author":6144,"museum":6145,"description":6146,"tags":6147,"thumbUrl":6148,"material":193,"size":6149,"collection":85,"collections":6150,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},219937,"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","香港艺术馆","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[53,24,54,55,56,26,79,33,178,7,191,30,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[85],{"id":6152,"slug":6153,"title":6154,"dynasty":72,"author":284,"museum":131,"description":6155,"tags":6156,"thumbUrl":6157,"material":140,"size":39,"collection":85,"collections":6158,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},218711,"wu-kuan-ce-jian-tu-yi-ming-218711","无款策蹇图","纨扇小景里，寒林疏枝以墨线轻勒，淡赭暮色晕染古绢，似浸着时光的沉香。驴背文人衣袂微拂，随林间风意缓行，身后僮仆持杖相随，步履从容。笔触细腻处，枝桠虬曲、草叶疏斜皆见匠心，却无雕琢之痕。小径蜿蜒向林深处，隐现的屋舍若有若无，藏着宋时文人的隐逸意趣。不追喧嚣，只向林泉寻一份悠然——驴蹄轻踏的是岁月缓调，目光所及是心之所向的清宁。古绢斑驳如记忆纹理，将千年前的从容心境凝在这方圆镜里，引观者沉湎于淡远诗意，仿佛听见林间风过枝叶的轻响，触到宋代特有的雅寂与温厚。",[23,24,54,56,25,27,26,100,30,1002,117,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac997e7b74e20f2dc71b1bc5a8a80c3a.jpg",[85],{"id":6160,"slug":6161,"title":6162,"dynasty":72,"author":3459,"museum":301,"description":6163,"tags":6164,"thumbUrl":6165,"material":81,"size":39,"collection":39,"collections":6166,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":89},218080,"luo-han-tu-ce-7-li-gong-lin-218080","罗汉图册-7","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,24,54,304,149,56,848,30,26,7,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c9716a8827b71f4348abdef37c88e.jpg",[],{"id":6168,"slug":6169,"title":6170,"dynasty":283,"author":6171,"museum":301,"description":6172,"tags":6173,"thumbUrl":6174,"material":193,"size":6175,"collection":85,"collections":6176,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":67},217014,"ruan-yuan-yi-shi-shi-jing-tu-ce-wang-yun-217014","阮元遗事十景图册","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[24,54,304,56,25,27,98,99,26,536,7,31,3082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42d8d58ef2babc1245f84f09d811166.jpg","27.9x33cm",[85],{"id":6178,"slug":6179,"title":6180,"dynasty":283,"author":284,"museum":114,"description":6181,"tags":6182,"thumbUrl":6184,"material":140,"size":39,"collection":39,"collections":6185,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":89},216691,"hong-lou-meng-fu-tu-ce-32-yi-ming-216691","红楼梦赋图册-32","冰纹窗棂映着素雪覆阶，室内暖光浮动。仕女们围案而聚，鬓影衣香间，或执盏浅笑，或凝眸细语，案上陈设雅致，似藏着闺阁间的温软心事。窗外枯枝覆雪，与室内鲜妍的衣色相映，冷暖交织间，尽展红楼女儿的闲雅情致。笔墨细腻处，衣袂的褶皱、窗棂的纹路皆清晰可见，人物神态鲜活灵动，将冬日里的一场雅集，定格成意蕴悠长的画中诗。画面融工笔之精巧与写意之空灵，于细节处见匠心，尽显古典闺阁生活的雅致与温情。",[23,24,25,134,304,30,2434,77,7,179,5598,6183],"桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa520e04b9ab60fdd0c14ce14e0e579b5.jpg",[],{"id":6187,"slug":6188,"title":6189,"dynasty":283,"author":6190,"museum":978,"description":6191,"tags":6192,"thumbUrl":6193,"material":307,"size":39,"collection":39,"collections":6194,"showCount":5991,"zanCount":310,"manualWeight":11,"mainColor":67},214813,"shan-shui-hua-hui-tu-ce-6-gao-feng-han-214813","山水花卉图册-6","高凤翰","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,53,24,56,25,304,27,7,78,33,800,35,28,179,26,2541,509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5645da02a8b8b4685060ad00c3bc0b.jpg",[],{"id":6196,"slug":6197,"title":6198,"dynasty":283,"author":6199,"museum":50,"description":6200,"tags":6201,"thumbUrl":6202,"material":39,"size":39,"collection":85,"collections":6203,"showCount":5991,"zanCount":11,"manualWeight":11,"mainColor":6204},203099,"gui-mao-shan-shui-tu-ce-ye-xin-203099","癸卯山水图册","叶欣","画面以淡墨轻彩晕染，左侧嶙峋山石用简洁皴法勾勒，肌理毕现；中部建筑屋顶覆淡红，灰白墙体衬出雅致，内中陈设隐约可辨；旁侧枯树枝桠疏朗，添几分清寂。远景山峦朦胧，水汽氤氲，层次悠远。笔墨清润雅致，构图虚实相生，简淡中藏深远意境，尽显文人山水的清幽之趣。",[24,26,304,25,27,31,536,7,766,54,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b27a33f38cb838cb2c4c77e8e51efb0.jpg",[85],"d0bb97",{"id":6206,"slug":6207,"title":5105,"dynasty":18,"author":330,"museum":50,"description":6208,"tags":6209,"thumbUrl":6210,"material":39,"size":39,"collection":85,"collections":6211,"showCount":5991,"zanCount":310,"manualWeight":11,"mainColor":6212},202191,"bei-shan-he-chu-tu-zhou-dong-qi-chang-202191","淡墨皴擦的山峦间，清逸线条勾勒出文人画的空灵。近景虬枝枯树倚着嶙峋山石，小亭隐于树后；远景主峰挺秀，烟云轻笼，夕阳余晖漫洒，意境清寂悠远。笔墨疏朗却含厚重，以书入画的笔意融于山水神韵，师法自然又寄寓主观情致，简淡中见天真，尽显文人山水的雅致气韵。",[24,26,27,766,7,31,191,377,388,55,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607cbdadd7c4984a5c2f9c3d479735ad.jpg",[85],"b1a080",{"id":6214,"slug":6215,"title":6216,"dynasty":283,"author":6217,"museum":50,"description":6218,"tags":6219,"thumbUrl":6221,"material":39,"size":39,"collection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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[23,24,55,26,179,7,6507,29,413,31,27,25,764],"茅亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d29f7d59862ce63fecb4304eeb3687.jpg",[],{"id":6511,"slug":6512,"title":6513,"dynasty":283,"author":1797,"museum":114,"description":6514,"tags":6515,"thumbUrl":6516,"material":120,"size":121,"collection":39,"collections":6517,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":67},288137,"lin-jiang-yuan-tiao-hua-yan-288137","临江远眺","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[23,777,24,56,26,7,35,101,30,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7734b687bbefac8a3c347f49789a2.jpg",[],{"id":6519,"slug":6520,"title":6521,"dynasty":283,"author":2741,"museum":114,"description":5850,"tags":6522,"thumbUrl":6524,"material":120,"size":121,"collection":39,"collections":6525,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":67},288135,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-288135","仿倪云林古木图",[23,24,56,26,55,287,7,31,57,6523,4268,99,98,204],"平水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76a5128c80eb99da06818edf285693f.jpg",[],{"id":6527,"slug":6528,"title":3164,"dynasty":283,"author":6529,"museum":114,"description":6530,"tags":6531,"thumbUrl":6532,"material":39,"size":39,"collection":39,"collections":6533,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":67},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","唐岱","整幅画作以淡墨晕染铺就天地寒寂，细劲线条勾勒出山石苍硬肌理。积雪覆裹峰峦，以留白晕染出雪色蓬松清冽，将隆冬山野的素净空濛尽显。枯木虬曲错落，萧瑟枝桠衬出山境荒寒，山坳隐见山居，为冷寂添了一缕烟火暖意。\n\n作画兼具苍劲与秀润，勾勒皴擦间刻画出山石的嶙峋质感，以空白代雪，虚实相生间烘托出冬日山林的静谧萧寒，借景抒怀，尽显文人山水的澹远雅逸意境。",[24,54,55,56,25,27,26,319,486,137,7,32,59,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":6535,"slug":6536,"title":6537,"dynasty":283,"author":6012,"museum":114,"description":6013,"tags":6538,"thumbUrl":6539,"material":39,"size":39,"collection":39,"collections":6540,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":67},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825","董诰墨庄览胜图册",[24,54,304,25,813,56,26,31,178,7,191,33,99,256,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":6542,"slug":6543,"title":6544,"dynasty":18,"author":6545,"museum":114,"description":6546,"tags":6547,"thumbUrl":6548,"material":120,"size":121,"collection":39,"collections":6549,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":89},236682,"shan-shui-shan-jiang-qian-236682","山水扇","蒋乾","蒋乾（1525—？）明代画家。字子健，金陵（今江苏南京）人。\n嵩子，隐居吴郡（今江苏苏州）虹桥，困以为号。破屋半间，一介不苟。八十年如一日。江盈科为长洲宰，表其庐曰“东海冥鸿”。善山水，清拔古雅，过於乃父。嘉靖四十二年（1563）仿王蒙山水图。",[24,3102,777,26,7,31,33,29,27,178,58,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4dd3c710ef5cd3dbc82276a1c1a9b4.jpg",[],{"id":6551,"slug":6552,"title":5006,"dynasty":283,"author":858,"museum":114,"description":1146,"tags":6553,"thumbUrl":6554,"material":120,"size":121,"collection":39,"collections":6555,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":89},235519,"yuan-ji-shan-shui-tu-ce-shi-tao-235519",[24,54,304,56,25,26,7,31,77,898,101,27,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2a78c5b32a9df0169ae4148b73f13e.jpg",[],{"id":6557,"slug":6558,"title":1386,"dynasty":283,"author":300,"museum":114,"description":6559,"tags":6560,"thumbUrl":6561,"material":39,"size":39,"collection":39,"collections":6562,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":67},235173,"shan-shui-ce-zhu-da-235173","此作用笔极简枯淡，近景虬松孑立、枝干苍劲，旁侧矮松偃仰自适，坡石茅舍隐于淡墨浅痕之中，不着浓艳皴擦，尽得萧散之致。远景山峦以淡墨轻扫晕染，大片留白铺陈出水天渺茫，将天地空寂之意全然铺开。\n\n画作以虚代实，删繁就简，将满腔孤高幽寂寄寓在荒寒山景之中，淡远冷逸的意境里藏着遗世独立的沉郁心绪，寥寥数笔勾勒出天地间的清寥空阔，尽显空灵冷峭的独特意趣。",[24,56,343,27,304,26,7,35,57,176,5400,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8494e46932a474e8df6edfda1c28c4b4.jpg",[],{"id":6564,"slug":6565,"title":6566,"dynasty":48,"author":1741,"museum":114,"description":6567,"tags":6568,"thumbUrl":6569,"material":39,"size":39,"collection":39,"collections":6570,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":89},228254,"jiang-shu-qiu-sheng-tu-ye-cao-zhi-bai-228254","江树秋声图页","平远取景铺展江天浩渺，远山以淡墨轻笼，晕染出空濛悠远的秋意。近岸枯木萧疏遒劲，枝桠清瘦如篆，茅庐隐于林下，悄然静立在清寒暮色里。\n\n笔墨简淡秀润，以干笔皴擦写山峦肌理，线条松灵虚和，墨色层层晕染，淡而不薄。题画小诗与山水相映，将江乡秋夜的孤清乡思揉进尺幅之中。整幅画以简驭繁，褪去浓丽，尽显尚意之趣，把深秋江渚的寂寥、幽居林泉的隐逸澹然融为一体，淡墨里藏着清寂的心境，寥寥数笔便绘就了江乡秋声里的悠远闲情。",[53,24,54,304,56,27,26,7,31,58,837,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":6572,"slug":6573,"title":6574,"dynasty":48,"author":284,"museum":114,"description":6575,"tags":6576,"thumbUrl":6577,"material":39,"size":39,"collection":39,"collections":6578,"showCount":6457,"zanCount":310,"manualWeight":11,"mainColor":125},228207,"han-lin-mu-yang-tu-yi-ming-228207","寒林牧羊图","此作用枯淡笔墨铺就冬日荒林野趣，老木虬枝盘曲苍劲，枯槎交错伸展，枝桠间漫着清寂萧寒之气。寒林以浓淡墨色层叠排布，晕染出悠远静谧的林野纵深，将冬日郊野的空旷萧索尽数铺开。下方缓坡错落起伏，羊群或垂首啮草，或缓步闲游，为冷寂林野晕开细碎生机。整体笔墨简劲苍润，以留白衬出郊野清阔空寂的氛围，于萧寒之中暗蕴悠然意趣，尽显简远萧散的林下幽情。",[24,26,56,27,55,7,1334,31,1377,178,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef393f39116b943b3c6158679749db8.jpg",[],{"id":6580,"slug":6581,"title":6582,"dynasty":2882,"author":2883,"museum":114,"description":2884,"tags":6583,"thumbUrl":6586,"material":120,"size":121,"collection":2898,"collections":6587,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":67},226118,"the-skaters-at-giverny-1899-mo-nai-226118","The Skaters at Giverny, 1899",[2886,2887,25,30,7,6584,2890,1829,6585],"冰面","滑冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd75af4a63c39ad27e6bfb80c7040bc77.jpg",[2898],{"id":6589,"slug":6590,"title":6591,"dynasty":2882,"author":2883,"museum":114,"description":2884,"tags":6592,"thumbUrl":6593,"material":120,"size":121,"collection":2898,"collections":6594,"showCount":6457,"zanCount":11,"manualWeight":11,"mainColor":67},225970,"lavacourt-under-snow-1879-mo-nai-225970","Lavacourt under Snow, 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，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[53,24,54,304,25,27,26,319,486,100,7,321,136,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F964fa9306cfae7607af1e90144e6216e.jpg",[],{"id":6674,"slug":6675,"title":3714,"dynasty":283,"author":284,"museum":114,"description":6676,"tags":6677,"thumbUrl":6678,"material":39,"size":39,"collection":39,"collections":6679,"showCount":6632,"zanCount":310,"manualWeight":11,"mainColor":67},236067,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236067","此作用浅淡水墨绘就萧疏秋林之景，枯木虬曲错落，枝桠尽露嶙峋之态，策杖幽人行于林麓间，更衬林泉清寂。林畔茅舍隐于林木间，淡墨扫就陂陀山石，温润松秀。远景汀渚远山以轻墨晕染，虚实相生，将荒寒淡远的秋冬平野铺展而出。\n\n用笔松灵雅致，干笔皴擦带出山野质感，留白空灵写意，尽显南宗山水萧散简远的意趣。寥寥笔墨勾勒出林下幽居的清寂况味，以简驭繁、以淡胜浓，将文人寄情林泉的闲远心境融于尺幅之中，是深得仿古山水意韵的雅致小品。",[24,54,304,56,287,27,26,7,57,31,191,33,29,178,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba88997e1c5b5c27221bff52124674f.jpg",[],{"id":6681,"slug":6682,"title":6683,"dynasty":18,"author":284,"museum":114,"description":6684,"tags":6685,"thumbUrl":6686,"material":39,"size":39,"collection":39,"collections":6687,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":67},235321,"shen-shi-chong-han-tang-yu-ting-tu-zhou-yi-ming-235321","沈士充寒塘渔艇图轴","此作用笔清隽雅致，以干湿互济的笔墨勾勒冬江寒林之景。危崖层叠，以短皴复点苔墨，晕出山石厚重肌理，淡墨烘染出空蒙山雾，将远山隐于烟霭之中，平添幽寂荒寒之意。近岸枯木虬曲，木叶尽脱，枝桠苍劲舒展，与滩头乱石相映，尽展冬日元气萧索之态。\n\n溪间扁舟静泊，渔翁拥衣独坐舱头，孤舟暖篷与周遭清寒形成温冷对照，把渔人江渚独守的安闲隐逸，融在冬日水滨的淡远清旷之中，以景寄情，将幽逸况味刻画尽致。",[24,54,55,56,26,29,7,34,35,33,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891e488a81d900cd51693f501d860966.jpg",[],{"id":6689,"slug":6690,"title":6691,"dynasty":18,"author":19,"museum":114,"description":6505,"tags":6692,"thumbUrl":6693,"material":120,"size":121,"collection":39,"collections":6694,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":67},234830,"shan-shui-shan-ye-lan-ying-234830","山水扇页",[777,24,54,53,56,26,7,29,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ffc56d629f48afc48a85f98b53415e.jpg",[],{"id":6696,"slug":6697,"title":3755,"dynasty":72,"author":284,"museum":131,"description":6698,"tags":6699,"thumbUrl":6700,"material":244,"size":6701,"collection":39,"collections":6702,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":89},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[24,825,55,56,27,534,1094,59,7,3082,33,30,874,178,230,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","纵106厘米，横51.5厘米",[],{"id":6704,"slug":6705,"title":6706,"dynasty":283,"author":2998,"museum":159,"description":6707,"tags":6708,"thumbUrl":6709,"material":39,"size":39,"collection":39,"collections":6710,"showCount":6632,"zanCount":310,"manualWeight":11,"mainColor":67},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,56,27,304,26,31,178,321,79,32,2482,57,7,78,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":6712,"slug":6713,"title":6714,"dynasty":2882,"author":3622,"museum":114,"description":3623,"tags":6715,"thumbUrl":6716,"material":120,"size":121,"collection":2898,"collections":6717,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":125},225841,"the-cottage-may-fan-gao-225841","The cottage (May - )",[53,2887,800,7,30,5806,2890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a11173f23d433505b94c0f575af4d.jpg",[2898],{"id":6719,"slug":6720,"title":6721,"dynasty":72,"author":284,"museum":159,"description":6722,"tags":6723,"thumbUrl":6724,"material":511,"size":6725,"collection":39,"collections":6726,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":89},223518,"mei-xi-fang-ting-tu-yi-ming-223518","梅溪放艇图","绘一雅士放艇溪中，回首遥视远方，渔夫于 船尾曲身奋力划桨。两株老梅斜出溪岸，虬曲多姿。山间云雾 缭绕，天水一色。大山巍然横卧，小峰如刀削斧劈，笔立其 侧。作者所绘老梅虬曲多姿，以白粉点梅花，用细笔描水草和 波浪，人物衣纹简劲，工写结合。全图用笔工细劲挺，构图生 动简洁，设色淡雅清丽",[23,24,777,56,25,26,134,29,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727d30aba9a4f0befd1f131f9c55d89f.jpg","纵24.4厘米横24.7厘米",[],{"id":6728,"slug":6729,"title":6730,"dynasty":48,"author":284,"museum":74,"description":6731,"tags":6732,"thumbUrl":6735,"material":61,"size":6736,"collection":39,"collections":6737,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":89},223448,"han-jiang-dai-du-tu-yi-ming-223448","寒江待渡图","这是一幅典型的、表达入仕愿望的待渡图，幅中烟岚中的台阁象征仕途，待渡人仿佛严阵以待般静立江岸，等待一只前来接引的小舟。另一种说法是：山中俨然而立的是寺观，待渡者相反是要表达出世的愿望。结合它所创作的元代，两种解释似乎都能成立。",[23,24,56,27,25,26,29,33,7,1122,6733,178,57,403,4346,6734],"渡头","石矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e77f66f7f33d72e246016b5833f6c12.jpg","30x32厘米",[],{"id":6739,"slug":6740,"title":6741,"dynasty":48,"author":284,"museum":131,"description":5430,"tags":6742,"thumbUrl":6744,"material":103,"size":5433,"collection":39,"collections":6745,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":89},223407,"tai-xing-xue-ji-tu-zhou-yi-ming-223407","太行雪霁图轴",[23,24,55,25,27,26,179,31,7,79,30,413,33,59,6743],"山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe095a1bc944a9d299c160ca73f1ffd9a.jpg",[],{"id":6747,"slug":6748,"title":6749,"dynasty":72,"author":284,"museum":159,"description":6750,"tags":6751,"thumbUrl":6752,"material":511,"size":6753,"collection":39,"collections":6754,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":89},223337,"wu-jiu-wen-qin-tu-yi-ming-223337","乌桕文禽图","图为雪侯河所写，天色阴沉，老梅初出。 树栖带状鸟有明亮而腐烂的羽毛。 自制的图画和家禽文字，大多是在明媚的春光下。 这独特的画面与冬天的杀戮场景形成了鲜明的对比，极为巧妙。 树下溪流湍急，水花四溅，岸边的岩石上都被雪覆盖着。 画家以水墨染天空，以白粉表现雪，以白力描绘流水，气势磅礴。 河岸的独特表现是强大的。 岩石和水的侵蚀形成的蜂窝形状是另一种前所未有的创新方法。",[23,53,24,54,268,134,25,7,135,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2250b3999f22bfd04a74cdeb074f66.jpg","27.5x26.9厘米",[],{"id":6756,"slug":6757,"title":6758,"dynasty":283,"author":6012,"museum":131,"description":6759,"tags":6760,"thumbUrl":6763,"material":1401,"size":6764,"collection":39,"collections":6765,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":67},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,25,134,27,26,304,230,178,608,269,585,1217,7,35,33,376,6761,6762,2015,1947,861],"春景","牧畜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","22.9x26厘米",[],{"id":6767,"slug":6768,"title":2032,"dynasty":18,"author":2033,"museum":50,"description":2034,"tags":6769,"thumbUrl":6770,"material":61,"size":2038,"collection":39,"collections":6771,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":67},221928,"za-hua-ce-guo-xu-221928",[23,53,24,54,56,149,343,30,7,4747,5597,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg",[],{"id":6773,"slug":6774,"title":6775,"dynasty":6432,"author":6776,"museum":50,"description":6777,"tags":6778,"thumbUrl":6779,"material":39,"size":39,"collection":85,"collections":6780,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":6781},203356,"han-lin-ping-ye-tu-zhou-zhao-shu-ru-203356","寒林平野图轴","赵叔孺","画面中老树虬枝盘曲，枝干以干笔皴擦出苍劲纹理，松针稀疏却见风骨。平野铺展开阔，远山以淡墨晕染，层次渐远，空濛辽阔。笔墨简练而意境清寂，寒林萧瑟与平野旷远交织，尽显文人山水的雅致韵致，于静谧中藏深沉之思。",[24,26,7,288,27,56,55,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c12e4f317bbcf6f722ab703c98a572.jpg",[85],"cfa085",{"id":6783,"slug":6784,"title":3377,"dynasty":283,"author":6227,"museum":50,"description":6785,"tags":6786,"thumbUrl":6787,"material":39,"size":39,"collection":85,"collections":6788,"showCount":6632,"zanCount":11,"manualWeight":11,"mainColor":6789},202118,"shan-shui-tu-zhou-qian-shu-202118","此作笔墨苍劲沉厚，山峦以皴法写就，纹理交错间尽显石质坚凝。山间云雾轻飏，虚实相生，将远近景致自然分隔。近景枯树虬枝，姿态古拙，与嶙峋怪石相映成趣；中景村落隐于林麓，屋舍错落添几分烟火气；远景峰峦叠嶂，意境悠远。整体构图疏密有致，气韵流转生动，尽显传统山水画的空灵深远，传递出文人对自然的静谧观照与哲思。",[24,26,27,7,3019,403,118,56,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4096e56061498878b48f5c01ffe78262.jpg",[85],"a38f76",{"id":6791,"slug":6792,"title":6793,"dynasty":48,"author":284,"museum":131,"description":3405,"tags":6794,"thumbUrl":6795,"material":140,"size":6796,"collection":634,"collections":6797,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":89},290722,"wen-ji-gui-han-tu-zhou-yi-ming-290722","文姬归汉图轴",[24,55,25,30,585,7,117,3690,98,256,3689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0c17d90776f930983795d9f5ee260c.jpg","63.5x85.7",[634],{"id":6799,"slug":6800,"title":6801,"dynasty":172,"author":1204,"museum":114,"description":6802,"tags":6803,"thumbUrl":6804,"material":120,"size":121,"collection":39,"collections":6805,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},290010,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-diao-guang-yin-290010","写生花卉册-枯树五羊盘陀","画作描绘枯树旁边羊只觅食的悠闲姿态，或坐、或立、或觅食，远处群山在云雾中时隐时现，两只羊抬头四顾，与远景遥相呼应，构图精美。",[24,304,25,7,1334,269,26,98,1973,99,176,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdec8dd40c7593425e7f22ffa419fba.jpg",[],{"id":6807,"slug":6808,"title":6809,"dynasty":283,"author":858,"museum":114,"description":1146,"tags":6810,"thumbUrl":6814,"material":120,"size":121,"collection":39,"collections":6815,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},289949,"shan-shui-ren-wu-juan-shi-tao-289949","山水人物卷",[23,24,53,162,56,54,98,256,26,30,29,7,230,33,3019,6811,6812,6813,1705,3055,2112,99,27],"幽林","隐士","僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823a172113e0e371319b858615943f8.jpg",[],{"id":6817,"slug":6818,"title":6819,"dynasty":72,"author":284,"museum":114,"description":6820,"tags":6821,"thumbUrl":6822,"material":120,"size":121,"collection":39,"collections":6823,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":89},288345,"xue-qiao-mai-yu-tu-yi-ming-288345","雪桥买鱼图","以淡墨晕染铺就天地一色的雪意，崖壁枯木虬枝斜出，残叶凝着薄雪，兀自点缀着萧寒。水岸渔舍错落低矮，板桥凌于寒波之上，渔舟系在岸边，好似刚收网归来，鲜鱼担于桥畔，静候买客。\n\n整幅画作以极简笔触勾勒出冬日水乡的清寂，留白处尽是冷冽空濛的雪色，不见喧嚣，只剩静谧。带着宋人独有的雅致意趣，将寻常乡野雪景绘成清冷孤高的诗意画卷，藏着冬日水乡的烟火闲淡，又晕染出荒寒出尘的山水意境。",[777,24,53,825,56,179,78,32,7,31,58,29,790,3579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d0642e132ec6cd5664c979b5161599d.jpg",[],{"id":6825,"slug":6826,"title":832,"dynasty":112,"author":1883,"museum":114,"description":5195,"tags":6827,"thumbUrl":6828,"material":120,"size":121,"collection":39,"collections":6829,"showCount":66,"zanCount":310,"manualWeight":11,"mainColor":89},288268,"ya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金礼嬴-寒山招隐图现藏于旅顺博物馆。",[23,24,25,27,26,191,31,7,30,77,28,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847093c00e64619ff7d721d21094f33.jpg","178cmx57cm",[],{"id":6883,"slug":6884,"title":6885,"dynasty":72,"author":284,"museum":114,"description":6886,"tags":6887,"thumbUrl":6888,"material":39,"size":39,"collection":39,"collections":6889,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":89},227928,"da-mo-mian-bi-tu-yi-ming-227928","达摩面壁图","此作用笔极简空灵，以淡墨晕染出空濛悠远的禅意天地。枯笔勾勒的崖边瘦松枝桠疏朗，伴着淡墨晕开的空寂山水，烘托出幽阒沉静的氛围。达摩身披宽袍静坐石上，身形简括却尽显静定肃穆，侍立的沙弥神态恭谨，愈发衬得画面寂廖安宁。整幅画以少胜多，舍去繁缛细节，用萧散澹远的笔墨传递出禅家清寂玄远的意趣，将面壁的枯坐修行化为极具氛围感的视觉图景，尽显水墨禅画以形写神的精妙。",[23,53,24,54,55,56,149,848,30,35,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e177f7ca701ef04d64427f39085162b.jpg",[],{"id":6891,"slug":6892,"title":6893,"dynasty":72,"author":284,"museum":114,"description":6894,"tags":6895,"thumbUrl":6896,"material":39,"size":39,"collection":39,"collections":6897,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},227341,"dong-ri-cao-wu-tu-yi-ming-227341","冬日草屋图","相对于百花齐放的春天，五彩缤纷的夏天，硕果累累的秋天，寒风萧瑟的冬天亦有其独特的韵味。\n\n每年的冬天，最盼望的就是一觉醒来，窗外银装素裹，仿佛置身于童话故事之中，整个世界都安静了。虽然冷，但雪景依旧是冬日里人们最期盼的画面。\n\n自古以来，皑皑雪景，在中国古画当中就占有一席之地。\n\n在不同的画境之下，雪，拥有了无尽的生命力，万物孤寂的冬天，被作者表现的淋漓尽致。",[24,54,777,25,26,7,6835,179,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e5b975f61e54f4018d0c87e8c33dd40.jpg",[],{"id":6899,"slug":6900,"title":6901,"dynasty":2882,"author":2883,"museum":114,"description":2884,"tags":6902,"thumbUrl":6904,"material":120,"size":121,"collection":2898,"collections":6905,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":89},225955,"inondation-de-la-seine-a-vetheuil-1881-mo-nai-225955","Inondation de la Seine à Vetheuil, 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雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,55,56,179,30,26,35,7,764,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc49d8d50a6d1af675ef6a22f8fed32.jpg","112.5x28.7",[],{"id":6981,"slug":6982,"title":5447,"dynasty":72,"author":4354,"museum":114,"description":5448,"tags":6983,"thumbUrl":6984,"material":120,"size":121,"collection":39,"collections":6985,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},289130,"xue-an-han-ya-tu-li-an-zhong-289130",[23,53,24,55,134,268,176,7,179,255,4846,1528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac83e55ae0a4db7c4acc2daacf9038dd.jpg",[],{"id":6987,"slug":6988,"title":6989,"dynasty":18,"author":1245,"museum":114,"description":1971,"tags":6990,"thumbUrl":6991,"material":120,"size":121,"collection":39,"collections":6992,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},283777,"chun-shu-shuang-que-tu-tang-yin-283777","椿树双雀图",[24,53,268,176,7,56,25,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6be4eac2e2e2d00b56654f9399ec35.jpg",[],{"id":6994,"slug":6995,"title":6996,"dynasty":283,"author":5203,"museum":114,"description":6997,"tags":6998,"thumbUrl":6999,"material":39,"size":39,"collection":39,"collections":7000,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},239539,"fang-gu-ji-you-tu-ce-huang-yi-239539","访古纪游图册","此作用淡墨白描写村居小景，右侧老干虬结，层叶扶苏，掩映三两茅舍，舍内二人对坐晤谈，意态悠然。画面左侧留空疏朗，搭配长款题字，书画相映成趣。笔墨清简秀雅，纯以线条勾勒物象，不事浓艳设色，尽显萧散简远的文人画意趣，将乡居日常的闲淡静好缓缓铺陈，带着访古归来、寄情林泉的松弛闲适，尽显文人纪游小品的雅致格调。",[24,56,149,304,26,28,32,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08a1c7fe97cbb74944a012e90a9b35c.jpg",[],{"id":7002,"slug":7003,"title":7004,"dynasty":283,"author":7005,"museum":114,"description":7006,"tags":7007,"thumbUrl":7008,"material":39,"size":39,"collection":85,"collections":7009,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},238271,"wu-jun-xi-shan-sheng-jing-ce-peng-qi-feng-238271","吴郡西山胜景册","彭启丰","彭启丰（1701～1784）字翰文，号芝庭，又号香山老人，江南长洲（今苏州）人，清朝官吏。清代大臣、学者。16岁入官学读书，好学上进。雍正五年（1727）会试第一，殿试时，列为一甲三名，世宗亲拔为第一。官翰林院修撰，乾隆年间历官侍讲、左佥都御史、浙江学政、刑部侍郎、吏部侍郎、兵部尚书。为官40年，以谨慎著称。为了奉养母亲，曾请求辞官；在家中辟园亭，植花竹，拥书万卷，乾隆帝曾赐匾额“慈竹春晖”。主讲于紫阳书院，乾隆三十七年（1772）清廷开馆编纂《四库全书》，广征天下藏书家秘本，江苏省在紫阳书院设书局，分派官员登记造册，由他总理其事。其子亦献书于四库馆数种。所藏书印有“南圃”、“芝庭”、“蓬莱第一峰”、“经筵讲官”等。工于书法，善于绘画，又能诗文，有《芝庭先生集》。",[24,25,26,27,304,176,178,32,230,177,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182be133dad35f37be5b2afebc61ce5a.jpg",[85,277],{"id":7011,"slug":7012,"title":7013,"dynasty":283,"author":7014,"museum":114,"description":7015,"tags":7016,"thumbUrl":7017,"material":39,"size":39,"collection":85,"collections":7018,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},238192,"shu-shan-guan-tu-zhou-li-shi-zhuo-238192","舒山馆图轴","李世倬","李世倬[清]（1687―1770）字天章，一字汉章、天涛，别号十石居士、太平拙吏、伊祁山人、清在号谷斋，又号菉园、星厓，居士，奉天（今辽宁沈阳）人，一作三韩（今内蒙喀喇沁旗西南）人，隶籍汉军正黄旗。如龙子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人称李太常。\n善画山水、人物、花鸟、果品，各臻其妙。少随父宦游江南，见王翚（1632—1717）得其讲论，后与马逸游，故宗法纯正而笔亦秀隽。其人物，自言得吴道子水陆道场图而阅之，遂悟其法。其花鸟、果品各种写意，盖得诸舅氏之指墨而易以笔，故能各名一家。晚年喜用指墨作人物、花鸟小品，以焦墨细擦，颇得轻重浅深之致。年逾八旬犹能作画，书小楷。",[24,25,134,27,26,321,31,79,77,7,28,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e170581d48db054aeb6b5322e7bd97.jpg",[85],{"id":7020,"slug":7021,"title":6691,"dynasty":18,"author":3939,"museum":114,"description":3940,"tags":7022,"thumbUrl":7023,"material":120,"size":121,"collection":39,"collections":7024,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},237967,"shan-shui-shan-ye-sun-zhi-237967",[24,54,777,26,56,27,319,486,100,7,78,29,136,33,536,57,3480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":7026,"slug":7027,"title":6544,"dynasty":18,"author":2120,"museum":114,"description":7028,"tags":7029,"thumbUrl":7030,"material":120,"size":121,"collection":39,"collections":7031,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},237853,"shan-shui-shan-zhao-zuo-237853","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[53,24,777,56,27,26,7,321,31,58,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52802a810c3ffd4f64a5657016a7300a.jpg",[],{"id":7033,"slug":7034,"title":6691,"dynasty":18,"author":5724,"museum":114,"description":7035,"tags":7036,"thumbUrl":7037,"material":120,"size":121,"collection":39,"collections":7038,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},237403,"shan-shui-shan-ye-ding-yun-peng-237403","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,54,777,56,26,7,319,375,27,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e166761ecc75bb66a219308be29751.jpg",[],{"id":7040,"slug":7041,"title":1386,"dynasty":283,"author":7042,"museum":114,"description":7043,"tags":7044,"thumbUrl":7045,"material":120,"size":121,"collection":85,"collections":7046,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},236968,"shan-shui-ce-chen-jia-le-236968","陈嘉乐","陈嘉乐（生卒年不详），又名陈嘉荣，字子显，号东原。清代济南历城人。善诗，工书画，尤长于山水。画学王原祁风格，乾隆年间闻名于画坛。后被道光皇帝第九子、孚敬郡王奕譓请到京邸，跟其学画。",[24,54,304,56,7,3293,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84b52ecab9067cdea1c447f9d70892e.jpg",[85,277],{"id":7048,"slug":7049,"title":1386,"dynasty":18,"author":7050,"museum":114,"description":7051,"tags":7052,"thumbUrl":7053,"material":39,"size":159,"collection":85,"collections":7054,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},236605,"shan-shui-ce-ye-xiang-rong-236605","叶向荣","此作以半边构图铺陈冬日山居，山石以枯淡笔墨勾勒皴擦，留白晕染出覆雪寒山的清冽质感。几株老松虬枝斜出，残叶萧疏，衬出山野冬意沉寂。山谷间屋舍俨然，隐于林泉褶皱里，烟火气融于萧寒山色，静穆闲雅。左侧留白空灵疏阔，与右侧实景虚实相生，将冬日山野的幽冷清寂与山居的安和静逸相融，笔墨简淡秀润，淡墨轻岚里晕染出文人寄情林泉的澹远襟怀，尽显冬日山林萧疏淡远的意境。",[53,24,54,304,25,27,26,230,31,32,178,7,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8b92f9e4c64968e485897bfde74259.jpg",[85,86],{"id":7056,"slug":7057,"title":7058,"dynasty":283,"author":284,"museum":114,"description":7059,"tags":7060,"thumbUrl":7061,"material":39,"size":39,"collection":85,"collections":7062,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},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。",[24,54,777,56,27,26,191,7,35,57,389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7ecfd72b7c604eda646d2f6a7b138.jpg",[85],{"id":7064,"slug":7065,"title":299,"dynasty":283,"author":2623,"museum":114,"description":7066,"tags":7067,"thumbUrl":7068,"material":39,"size":39,"collection":39,"collections":7069,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},235640,"shan-shui-tu-ce-wu-li-235640","此作以淡墨铺陈萧寂冬景，近间篱舍环围，寒木枯槎掩映山居，小径蜿蜒通幽，自有阒寂安闲之趣。平湖如镜横亘画幅，对岸危崖壁立，飞瀑垂落，以干笔皴擦写出山石苍劲肌理，淡墨晕染出秋水空蒙。\n\n左上角题诗与印信呼应画面意境，构图疏密得当，笔意朴厚温雅，不着艳色，以水墨尽绘林泉幽致，将文人寄情山水、静享林下的意趣融于尺幅之间，意境淡宕悠远。",[53,24,54,304,56,27,99,26,7,376,1282,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5600b17ebd9e80b097225499fdc4e8c4.jpg",[],{"id":7071,"slug":7072,"title":299,"dynasty":18,"author":7073,"museum":114,"description":7074,"tags":7075,"thumbUrl":7076,"material":120,"size":121,"collection":39,"collections":7077,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},235462,"shan-shui-tu-ce-pan-zheng-235462","潘徵","潘徵 彦宗,又字子述",[24,56,304,27,26,29,7,35,191,33,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf288a160fc81e09e1e83153a888f3a.jpg",[],{"id":7079,"slug":7080,"title":7081,"dynasty":283,"author":422,"museum":114,"description":2365,"tags":7082,"thumbUrl":7084,"material":120,"size":121,"collection":39,"collections":7085,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},235343,"fang-gu-shu-hua-ce-wang-jian-235343","仿古书画册",[24,54,304,56,25,26,178,31,32,27,98,7083,376,7],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6dadcd38fa9e4180ffab56f73e84d.jpg",[],{"id":7087,"slug":7088,"title":7089,"dynasty":283,"author":284,"museum":114,"description":7090,"tags":7091,"thumbUrl":7093,"material":39,"size":39,"collection":39,"collections":7094,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24,54,55,25,26,179,319,486,321,3488,32,30,177,968,7,59,7092,27],"冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc86f7786a0e780b5ff66b2cd24fe16.jpg",[],{"id":7096,"slug":7097,"title":7098,"dynasty":283,"author":858,"museum":114,"description":1146,"tags":7099,"thumbUrl":7100,"material":39,"size":39,"collection":39,"collections":7101,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},234650,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234650","原济金陵十景图册",[24,54,304,149,56,26,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6ae281bab731ccb23526b7cc5efbf0.jpg",[],{"id":7103,"slug":7104,"title":1386,"dynasty":283,"author":1279,"museum":159,"description":7105,"tags":7106,"thumbUrl":7107,"material":733,"size":7108,"collection":39,"collections":7109,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},233975,"shan-shui-ce-gong-xian-233975","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[53,24,56,26,7,35,27,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e6408d59a0ea66fdea582dbc4ac730.jpg","纵22.2厘米，横33.2厘米",[],{"id":7111,"slug":7112,"title":7113,"dynasty":283,"author":664,"museum":131,"description":7114,"tags":7115,"thumbUrl":7116,"material":219,"size":7117,"collection":39,"collections":7118,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[53,24,54,287,27,56,25,26,534,31,178,536,179,7,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":7120,"slug":7121,"title":7122,"dynasty":72,"author":284,"museum":131,"description":7123,"tags":7124,"thumbUrl":7125,"material":103,"size":7126,"collection":39,"collections":7127,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},231082,"hua-ying-tu-yi-ming-231082","画鹰图","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[24,54,134,25,344,7,1986,176,3255,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","131.8x65.3",[],{"id":7129,"slug":7130,"title":7131,"dynasty":283,"author":7132,"museum":114,"description":7133,"tags":7134,"thumbUrl":7136,"material":39,"size":39,"collection":39,"collections":7137,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","董邦达","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,54,162,25,27,134,26,7,321,7135,31,177,968,99],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":7139,"slug":7140,"title":7141,"dynasty":2882,"author":7142,"museum":114,"description":7143,"tags":7144,"thumbUrl":7149,"material":120,"size":121,"collection":39,"collections":7150,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},230647,"you-hua-tiziano-vecellio-048-ti-xiang-230647","油画-Tiziano Vecellio-048","提香","提香·韦切利奥，又译提齐安诺·维伽略（ Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[7145,7146,7147,7148,7,31,5806,2890],"素描","线条勾勒","明暗排线","房屋群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d14d3c70de38a2c5d8fb626f88d411.jpg",[],{"id":7152,"slug":7153,"title":7154,"dynasty":283,"author":664,"museum":114,"description":7155,"tags":7156,"thumbUrl":7157,"material":39,"size":39,"collection":39,"collections":7158,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[23,24,56,26,27,55,534,59,7,32,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":7160,"slug":7161,"title":1020,"dynasty":72,"author":284,"museum":7162,"description":7163,"tags":7164,"thumbUrl":7165,"material":140,"size":7166,"collection":39,"collections":7167,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},223665,"xue-shan-xing-lv-tu-yi-ming-223665","\u0010台北故宫博物院","以高远笔法铺陈层叠雪山，硬峭苍劲的线条勾勒山石骨骼，留白晕染尽显积雪厚重萧寒。谷间云气翻涌，将山体切割出虚实层次，令画面深邃辽远。山脚寒林枯槎萧索，冰河之上板桥隐现，山坳茅舍藏于雪峦间，行旅之人踏雪赶路，为荒寂冬景晕开一缕人间烟火气。\n\n画家以浓淡墨色区分雪色与岩体，皴笔硬朗尽显山石嶙峋质感，将隆冬山野的空寂清寒尽数铺展，于冷寂萧寒的天地间，藏着羁旅暖意，尽显山水写实造境的精妙风骨。",[23,24,54,26,55,27,534,31,7,78,1094,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e4f11b5e11ba642e4054f5428918dd.jpg","170.7x99.7",[],{"id":7169,"slug":7170,"title":7171,"dynasty":283,"author":7172,"museum":114,"description":7173,"tags":7174,"thumbUrl":7175,"material":39,"size":39,"collection":39,"collections":7176,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},222827,"san-xing-tu-xu-gang-222827","三星图","徐冈","徐冈，生卒年不详，字九成，号缾山（瓶山），浙江杭州人。家贫以鬻画养母，至老不娶。山水、花鸟、人物，无所不工。一以华岩为师，而尤擅花鸟。",[23,53,24,54,55,25,134,30,2016,101,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53588f1a09245fd285ade392b1603262.jpg",[],{"id":7178,"slug":7179,"title":7180,"dynasty":48,"author":6402,"museum":252,"description":7181,"tags":7182,"thumbUrl":7183,"material":455,"size":7184,"collection":39,"collections":7185,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":89},221866,"cheng-jiang-han-yue-tu-zhao-yong-221866","澄江寒月图","此图为《唐宋元集绘册》中的第十四幅。作者用大片的空白和淡墨淡彩渲染出一种空旷寒峭的境界。\n画面中一轮圆月当空，江水苍茫，隐约可见远山起伏。近岸巨石枯树，有一孤舟停泊，仓内一人独坐。",[23,777,24,54,256,25,26,29,898,7,35,1157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa397f5a6352c3ac829dc31fde3ebbda3.jpg","纵：25.5厘米，横：24.8厘米",[],{"id":7187,"slug":7188,"title":7189,"dynasty":283,"author":697,"museum":159,"description":6135,"tags":7190,"thumbUrl":7191,"material":61,"size":6138,"collection":39,"collections":7192,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},220282,"huang-shan-tu-ce-42-hong-ren-220282","黄山图册-42",[23,24,56,27,304,26,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc55d61186f7bfcdb1a2a7d8cade41dd.jpg",[],{"id":7194,"slug":7195,"title":7196,"dynasty":18,"author":628,"museum":301,"description":7197,"tags":7198,"thumbUrl":7199,"material":193,"size":7200,"collection":39,"collections":7201,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":67},214536,"mo-gu-ce-ye-13-chen-hong-shou-214536","摹古册页-13","枯笔疏枝，墨痕淡染，古意自泛黄纸页间漫溢。线条如铁线般刚劲，却藏秀逸之姿，枝桠转折处似含篆隶笔意，笔笔见骨。空寂背景里，枯树立于浅坡，旁侧小景以淡墨点染，简约却含生机。虽为摹古却不泥古：疏朗构图中留白写意，枯树孤高无萧瑟，反透沉静文人风骨。寥寥数笔尽得简远之趣，墨色浓淡相宜，将古雅气韵与个人情致融于方寸册页，观之如对古贤，心生悠然。",[24,54,304,56,149,26,7,35,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3781e162f368d0027eca7a9341d03d1.jpg","17.8x17.8cm",[],{"id":7203,"slug":7204,"title":7205,"dynasty":18,"author":6856,"museum":50,"description":7206,"tags":7207,"thumbUrl":7208,"material":39,"size":39,"collection":85,"collections":7209,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":7210},201805,"fang-ni-zan-shan-shui-tu-juan-cheng-jia-sui-201805","仿倪瓒山水图卷","画面取倪瓒典型三段式构图，近坡枯树枝桠如铁线劲挺，细竹摇曳生姿；中景平滩开阔，茅舍隐于林麓，透着幽居静谧；远景山峦淡墨晕染，轮廓简括，空濛无尽。笔墨以淡墨干笔为主，皴擦简练，线条清瘦见骨，留白处意蕴悠长，既得倪瓒“逸笔草草”的萧散神韵，又融自身温润雅致，于简淡中见情致，营造出清旷冷寂却含蓄隽永的山水意境。",[24,162,56,26,7,27,287,99,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3d09bcb520422bac9fbd025024865fd.jpg",[85],"cab7b0",{"id":7212,"slug":7213,"title":7214,"dynasty":48,"author":284,"museum":131,"description":3405,"tags":7215,"thumbUrl":7217,"material":103,"size":7218,"collection":39,"collections":7219,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":89},290721,"she-yan-tu-zhou-yi-ming-290721","射雁图轴",[24,55,30,585,3111,179,7,26,56,7216],"射猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f0c3cee47cb5137e4b63832844f6b1.jpg","131.8x93.9",[],{"id":7221,"slug":7222,"title":7223,"dynasty":72,"author":284,"museum":114,"description":7224,"tags":7225,"thumbUrl":7226,"material":120,"size":121,"collection":39,"collections":7227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横25．6厘米",[],{"id":7267,"slug":7268,"title":3818,"dynasty":283,"author":3819,"museum":159,"description":7260,"tags":7269,"thumbUrl":7270,"material":7263,"size":7264,"collection":39,"collections":7271,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},234913,"xue-jing-gu-shi-ce-sun-hu-234913",[24,54,304,25,402,26,30,77,815,7,31,179,99,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c4f3c3632f5bc300112775b84978ed.jpg",[],{"id":7273,"slug":7274,"title":1386,"dynasty":18,"author":330,"museum":159,"description":7275,"tags":7276,"thumbUrl":7277,"material":37,"size":2828,"collection":39,"collections":7278,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},233801,"shan-shui-ce-dong-qi-chang-233801","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。",[24,54,304,56,27,319,100,7,2016,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50182159ae20d4f8f94ae49233c0d9d2.jpg",[],{"id":7280,"slug":7281,"title":6069,"dynasty":283,"author":858,"museum":114,"description":6070,"tags":7282,"thumbUrl":7283,"material":61,"size":6073,"collection":39,"collections":7284,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":89},233379,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233379",[24,54,304,56,27,26,79,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4f3e06583f50b3e11703cde8bfd4e.jpg",[],{"id":7286,"slug":7287,"title":6706,"dynasty":283,"author":3747,"museum":159,"description":6707,"tags":7288,"thumbUrl":7289,"material":39,"size":39,"collection":39,"collections":7290,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},233224,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-fan-qi-233224",[53,24,56,25,304,26,33,7,31,32,176,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c5190e81e68a4b580c0740a4267030.jpg",[],{"id":7292,"slug":7293,"title":7294,"dynasty":18,"author":1245,"museum":159,"description":7295,"tags":7296,"thumbUrl":7297,"material":1489,"size":7298,"collection":39,"collections":7299,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},233138,"ming-ren-xi-shan-sheng-jing-he-bi-ce-yue-lai-xi-tu-ye-tang-yin-233138","明人西山胜景合壁册-越来溪图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,54,304,56,26,7,31,677,608,57,403,178,2015,27,256,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3926a6ab069ef73d913001355611c3.jpg","纵22.8cm，横33.2cm",[],{"id":7301,"slug":7302,"title":7303,"dynasty":283,"author":6012,"museum":114,"description":7304,"tags":7305,"thumbUrl":7306,"material":39,"size":39,"collection":39,"collections":7307,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},230250,"hua-jian-la-ying-xiang-ce-dong-gao-230250","画饯腊迎祥册","此作画意清和淡远，枯木虬枝舒展，寒林间啼禽栖止，竹影清疏衬着玲珑湖石，村舍院落隐于林后，小童行人缓步其间，晕开松弛乡野意趣。笔墨秀润清逸，枯木苍劲而不萧瑟，竹林隽秀空灵，淡墨轻晕出远山朦胧的冬日余韵。\n\n右侧题诗配雅致小楷，将晓禽报春、岁末祈康的心意融于画中，诗画相映。把乡翁扶杖待春的朴拙喜乐藏在细节里，以寻常村野小景，织就岁末迎春纳祥的温柔温情，尽显文人雅致闲淡意趣与世俗祈愿的交融之美。",[24,54,304,134,25,30,7,101,35,176,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4020cb0580c7fcf23b624e65dd138147.jpg",[],{"id":7309,"slug":7310,"title":7311,"dynasty":18,"author":7312,"museum":114,"description":7313,"tags":7314,"thumbUrl":7315,"material":39,"size":39,"collection":39,"collections":7316,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","袁尚统","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,24,54,55,56,27,26,30,585,77,29,7,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":7318,"slug":7319,"title":7320,"dynasty":72,"author":284,"museum":114,"description":7321,"tags":7322,"thumbUrl":7324,"material":39,"size":39,"collection":39,"collections":7325,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":89},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,24,53,777,134,56,25,7,176,7323,968,35,2454,1528,179],"水禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":7327,"slug":7328,"title":7329,"dynasty":2882,"author":2883,"museum":114,"description":2884,"tags":7330,"thumbUrl":7331,"material":120,"size":121,"collection":2898,"collections":7332,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},226119,"the-small-arm-of-the-seine-at-argenteuil-1872-mo-nai-226119","The Small Arm of the Seine at Argenteuil, 1872",[2886,2887,4377,4378,177,2367,1217,7,30,2888,2890,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3733f67bd35072bb9486cb255434c1f8.jpg",[2898],{"id":7334,"slug":7335,"title":7336,"dynasty":2882,"author":2883,"museum":114,"description":2884,"tags":7337,"thumbUrl":7338,"material":120,"size":121,"collection":2898,"collections":7339,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},226108,"the-riverbank-at-lavacourt-snow-1879-mo-nai-226108","The Riverbank at Lavacourt, Snow, 1879",[2886,2887,179,2367,7,2806,57,177,1095,536,2890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c01a42ecdc836eccc81841cf39acb80.jpg",[2898],{"id":7341,"slug":7342,"title":7343,"dynasty":72,"author":284,"museum":114,"description":7344,"tags":7345,"thumbUrl":7346,"material":39,"size":39,"collection":39,"collections":7347,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":89},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[23,53,24,54,304,134,25,7,101,33,176,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":7349,"slug":7350,"title":7351,"dynasty":283,"author":1279,"museum":50,"description":1280,"tags":7352,"thumbUrl":7354,"material":1284,"size":1285,"collection":39,"collections":7355,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},222613,"shan-shui-ba-jing-3-gong-xian-222613","山水八景-3",[23,24,56,7353,27,26,191,176,7,31,305],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d0d0a469d88f3e8e2c0ce23313a769.jpg",[],{"id":7357,"slug":7358,"title":7359,"dynasty":18,"author":7360,"museum":20,"description":7361,"tags":7362,"thumbUrl":7364,"material":307,"size":7365,"collection":39,"collections":7366,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},219068,"xiao-xiang-ba-jing-ce-4-zhang-fu-219068","潇湘八景册-4","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,7363,304,26,29,176,191,7,32,35,27],"水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62d0b3be84d63ac8951b6a29c47fd5af.jpg","30x33厘米",[],{"id":7368,"slug":7369,"title":7370,"dynasty":18,"author":7371,"museum":316,"description":7372,"tags":7373,"thumbUrl":7374,"material":307,"size":7375,"collection":39,"collections":7376,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},217877,"zhou-li-yuan-shang-kuan-shen-ce-er-hu-yu-kun-217877","周栎园上款什册(二)","胡玉昆","右侧山水以淡墨勾勒皴染，嶙峋山石间几株枯树枝桠虬劲，疏朗有致；岩畔茅舍隐于树后，远山淡远朦胧，留白处尽显空灵。左侧题跋行楷相间，墨色沉厚清逸，文字与画境相生相契。整幅作品简淡中见真味：枯树无华却藏风骨，茅舍简陋更显幽寂，远山淡远引人流连。诗画合一的韵致，于笔墨间传递出文人寄情丘壑的清寂孤远，在古典雅致中尽显简素之美，是文人画里以意取胜的佳例。",[53,24,54,56,26,7,800,31,178,230,138,98,256,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b55b0b2efd8517fd33b2057e3feed9.jpg","24.7x32.3cm",[],{"id":7378,"slug":7379,"title":7380,"dynasty":283,"author":300,"museum":301,"description":7381,"tags":7382,"thumbUrl":7383,"material":307,"size":39,"collection":39,"collections":7384,"showCount":184,"zanCount":310,"manualWeight":11,"mainColor":67},214376,"tian-guang-yun-jing-tu-ce-2-zhu-da-214376","天光云景图册-2","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,54,304,56,27,26,7,32,78,486,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8a3a81d0177f65a761a58e690d7eba.jpg",[],{"id":7386,"slug":7387,"title":7388,"dynasty":283,"author":300,"museum":301,"description":7381,"tags":7389,"thumbUrl":7390,"material":307,"size":39,"collection":39,"collections":7391,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},214373,"tian-guang-yun-jing-tu-ce-5-zhu-da-214373","天光云景图册-5",[23,24,54,304,56,27,26,7,2221,32,31,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe39f03268dcbb68500b2cd4b21803b.jpg",[],{"id":7393,"slug":7394,"title":1386,"dynasty":283,"author":1279,"museum":50,"description":7395,"tags":7396,"thumbUrl":7397,"material":39,"size":39,"collection":85,"collections":7398,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":7399},203454,"shan-shui-ce-gong-xian-203454","画面以水墨晕染出冬日山乡之境，枯树虬枝以干笔皴擦，线条苍劲老辣；覆雪的田埂与小径交错，牵引视线向深处村落延伸，茅舍错落，隐于寒林丘壑间。山峦以淡墨层层积染，浓淡虚实相映，既见层次又显空濛。笔墨间藏着清寂的禅意，静谧中透着生趣，仿佛能听见雪落的轻响与林间风声。整体意境悠远，技法上融合干笔皴擦与积墨晕染，尽显山水的深邃静谧之美。",[23,24,54,304,56,27,26,7,31,117,28,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab26bdcf6677892533aa7f08dbb8707e.jpg",[85],"cac3bd",{"id":7401,"slug":7402,"title":1386,"dynasty":283,"author":3747,"museum":50,"description":7403,"tags":7404,"thumbUrl":7406,"material":39,"size":39,"collection":85,"collections":7407,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":7408},203307,"shan-shui-ce-fan-qi-203307","画面分两帧，一帧峰峦陡起，皴笔皴擦出嶙峋肌理，青绿设色晕染出苍润质感，山脚茅屋疏树，牧群悠然，野趣横生；另一帧江波平展，岸石错落，孤舟轻漾，林木萧疏，笔墨清逸雅致。两帧皆融宋元山水之沉郁与文人画之逸韵，景物鲜活，意境淡远，尽显自然意趣与笔墨情致。",[25,27,304,26,29,800,7,7405,31,1237,23],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17320e032e43b0139c0e9d4c61b4632f.jpg",[85],"a68c6c",{"id":7410,"slug":7411,"title":7412,"dynasty":283,"author":3747,"museum":50,"description":7413,"tags":7414,"thumbUrl":7416,"material":39,"size":39,"collection":85,"collections":7417,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":7418},202241,"qiu-shan-xiao-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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。",[53,24,54,26,25,27,29,176,231,7,230,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b7155754987b42b5e622d176737084.jpg",[],{"id":7427,"slug":7428,"title":226,"dynasty":72,"author":227,"museum":114,"description":7422,"tags":7429,"thumbUrl":7430,"material":120,"size":121,"collection":39,"collections":7431,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":89},290296,"shan-shui-tu-guo-zhong-shu-290296",[24,53,825,25,27,26,29,7,32,176,33,230,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992854c151e737f5a0d86f76e823f47d.jpg",[],{"id":7433,"slug":7434,"title":7435,"dynasty":72,"author":284,"museum":114,"description":7436,"tags":7437,"thumbUrl":7438,"material":120,"size":121,"collection":39,"collections":7439,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":89},289597,"xue-zhong-hang-lv-tu-yi-ming-289597","雪中行旅图","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。",[777,24,56,179,26,7,31,117,711,1094,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1606270dffa4f04850e1d766dc7175.jpg",[],{"id":7441,"slug":7442,"title":7443,"dynasty":18,"author":3939,"museum":114,"description":3940,"tags":7444,"thumbUrl":7447,"material":120,"size":121,"collection":39,"collections":7448,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},288013,"qiu-lin-han-yan-tu-juan-sun-zhi-288013","秋林寒雁图卷",[23,24,162,825,56,25,3804,7445,176,57,33,1083,7,7446,414,98,256,99],"寒雁","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12ca6b35db79bb43e21774644a2d1e9.jpg",[],{"id":7450,"slug":7451,"title":7452,"dynasty":18,"author":3595,"museum":114,"description":7453,"tags":7454,"thumbUrl":7455,"material":120,"size":121,"collection":39,"collections":7456,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},287439,"zhu-ming-feng-tian-tu-shan-mian-wen-jia-287439","竹明风恬图扇面","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。”",[53,24,54,777,56,101,35,7,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb53dd14890df9a037c0b39b8f0d9b91.jpg",[],{"id":7458,"slug":7459,"title":2945,"dynasty":48,"author":284,"museum":131,"description":7460,"tags":7461,"thumbUrl":7462,"material":103,"size":7463,"collection":63,"collections":7464,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":89},287347,"gu-mu-han-ya-tu-yi-ming-287347","描绘了在万籁俱寂中生命力仍然强盛的古木寒树和禽鸟。图的近景，布以土坡、岩石，取势由画面左上而右下，呈三角形构图，稳定占据画面的底部。坡石上错落着几棵古树，中间两棵较大的树矗立展开，其茂密的树叶虽已脱尽，但光秃秃的枝丫仍然不屈地伸展着，透着—股孤傲的精神气，这是画面的主景。画的中部右侧，缓坡上较小的树林延伸出画外，林间有几只觅食的寒鸦。这组景物与前景的古木形成对照，间隔出较深远的空间距离。在往后面，是悠远的山峦、树林，更增加了画面空间层次感。深秋抑或是初冬，山林间是那样的寂静，一切似乎都在沉睡，只有一群寒鸦在空中纷飞着。",[24,26,56,7,176,179,413,205,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06260350e8cf4acb6d309787a66f8343.jpg","203.2x109.2",[63],{"id":7466,"slug":7467,"title":7468,"dynasty":283,"author":7469,"museum":114,"description":7470,"tags":7471,"thumbUrl":7472,"material":39,"size":39,"collection":39,"collections":7473,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","仿古山水屏","秦祖永","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[24,25,27,667,55,26,319,486,191,100,32,376,585,30,7,136,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],{"id":7475,"slug":7476,"title":7477,"dynasty":18,"author":7478,"museum":114,"description":7479,"tags":7480,"thumbUrl":7482,"material":120,"size":121,"collection":39,"collections":7483,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[24,55,56,27,26,137,2586,2404,29,509,7,31,77,32,7481],"桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],{"id":7485,"slug":7486,"title":6537,"dynasty":283,"author":6012,"museum":114,"description":6013,"tags":7487,"thumbUrl":7488,"material":39,"size":39,"collection":39,"collections":7489,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},238827,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238827",[24,54,304,56,25,26,179,7,413,31,1133,375,608,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d752b98269b50249bb4911e5586c67.jpg",[],{"id":7491,"slug":7492,"title":7493,"dynasty":283,"author":6012,"museum":114,"description":7494,"tags":7495,"thumbUrl":7496,"material":39,"size":39,"collection":39,"collections":7497,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},238781,"shan-shui-ren-wu-xiao-ce-dong-gao-238781","山水人物小册","此作以淡逸之笔铺展春日村居景致。近陂垂柳依依，山居屋舍隐于林麓间，水面轻描波痕，汀渚错落见生趣。中景湖石玲珑，杂木苍润，衬出园林意致。远景山峦以花青浅赭晕染，留白作烟岚，愈显悠远空濛。\n全幅设色清和温润，笔法秀雅松脱，构图疏密相宜，将江南村居的恬澹闲适融于尺幅间，文人情致尽显，于细微处铺陈出悠然空寂的春日山居诗意。",[24,54,304,25,26,30,77,7,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04640ad9ed45dabc5642934d2e4d1111.jpg",[],{"id":7499,"slug":7500,"title":7501,"dynasty":18,"author":284,"museum":114,"description":7502,"tags":7503,"thumbUrl":7508,"material":120,"size":121,"collection":39,"collections":7509,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":89},238560,"si-chao-xuan-zao-zhen-ce-ming-ren-han-shan-xiao-si-tu-ye-yi-ming-238560","四朝选藻贞册-明人寒山萧寺图页","此作用淡墨晕染山峦，以留白晕出山间空濛寒雾。枯木虬枝错落交织，不见半分新绿，将深冬寒山的荒疏冷寂铺陈眼前。山涧细流蜿蜒回环，愈发衬得林麓阒寂无声。层崖之上，梵寺隐于雾霭林峦间，遗世独立，禅意自生。\n\n搭配行书题诗，笔意清逸萧散，诗画相映，把踏雪寻寺、谈禅说笑的清逸图景藏于尺幅之间，将冬日山景的萧寒荒疏与古寺的空灵禅韵相融，勾勒出静穆淡远的幽寂意境，尽显冬日山林的空寂禅意。",[24,26,25,27,256,304,3332,7415,7,31,77,376,178,7504,7505,7363,7506,7507,99],"寺庙建筑","秋冬意境","传统山水技法","书法题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49577eb9436eaf67366ca39bd7ad4596.jpg",[],{"id":7511,"slug":7512,"title":7513,"dynasty":18,"author":2304,"museum":114,"description":7514,"tags":7515,"thumbUrl":7516,"material":120,"size":121,"collection":39,"collections":7517,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":89},238059,"qiu-lin-ce-jian-shan-zhang-hong-238059","秋林策蹇扇","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,54,777,56,25,27,26,7,30,1002,78,800,31,3082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ec8f396387ded7a43d80ffc1c810961.jpg",[],{"id":7519,"slug":7520,"title":7521,"dynasty":283,"author":2741,"museum":159,"description":7522,"tags":7523,"thumbUrl":7524,"material":61,"size":39,"collection":39,"collections":7525,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},237215,"shu-hua-he-bi-ce-cha-shi-biao-237215","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[54,304,56,26,256,7,35,922,28,136,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28036d56a8fc62b1f1ccc963059652c0.jpg",[],{"id":7527,"slug":7528,"title":7529,"dynasty":283,"author":284,"museum":114,"description":7530,"tags":7531,"thumbUrl":7532,"material":39,"size":39,"collection":39,"collections":7533,"showCount":3674,"zanCount":310,"manualWeight":11,"mainColor":89},235709,"zou-zhe-shan-shui-tu-zhou-yi-ming-235709","邹喆山水图轴","此作取高远开合之景，左上危崖巉岩，笔墨挺劲勾勒出山峦硬朗骨相，古松虬曲扎根崖壁，枝叶舒展有凌云之姿。中景山居藏于林麓间，窗内人影对坐，为清冷山林晕开一缕烟火暖意。烟岚留白柔化层叠丘壑，将近溪、村居、远山林亭晕连成浑然整体，虚实相生。近滩乱石错落，清溪缓流，扁舟系于浅濑，野趣悠然。\n\n皴法融披麻与斧劈意趣，山石简练，林木点染疏密合宜，淡墨晕出山雾空濛，兼收北派雄健与南宗温润，将林泉幽居的隐逸清趣，藏于烟霞丘壑之中。",[24,55,25,27,26,31,178,32,33,77,7,321,57,753,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca0839c65b0165554e6b938fbdc82b.jpg",[],{"id":7535,"slug":7536,"title":7537,"dynasty":283,"author":4876,"museum":114,"description":7538,"tags":7539,"thumbUrl":7540,"material":120,"size":121,"collection":39,"collections":7541,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},235210,"qiu-lin-du-shu-tu-shan-ye-wu-hong-235210","秋林读书图扇页","扇页有自题：“甲辰二月画，为伸甫仁兄正之。竹史吴宏。”钤“吴”、“宏”联珠文印。“甲辰”是清康熙三年（1664年），吴宏时年49岁。\n吴宏在清顺治十年（1653年），38岁时曾渡黄河，游雪苑，从此以自然造化为师，自出意匠。此幅绘秋木掩映下，文士于茅舍内临窗品读的书斋生活。其构思奇巧，画作的主角读书人既非形体高大，也未处于画幅的醒目位置，而是只露上半身且背对着观者；其主体形象的确立，是作者巧妙地将读书人所在的茅舍置于秋木与山石的空隙间，纵横交错、枝杈繁多的树木，和以乱柴皴皴擦的石面烘托出了茅舍的齐整，读书人也就自然地成为全幅中最引人注目的对象",[24,777,56,27,7,30,32,31,3804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2a2056d7a2cafa04b4a19edf913a47.jpg",[],{"id":7543,"slug":7544,"title":3714,"dynasty":283,"author":664,"museum":114,"description":4156,"tags":7545,"thumbUrl":7546,"material":120,"size":121,"collection":39,"collections":7547,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},234960,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234960",[24,667,56,26,179,7,176,27,1133,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256d2cbdb829c93a6f15ada9a7345502.jpg",[],{"id":7549,"slug":7550,"title":7551,"dynasty":283,"author":4876,"museum":159,"description":6707,"tags":7552,"thumbUrl":7553,"material":39,"size":39,"collection":39,"collections":7554,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},233228,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-fang-li-cheng-shan-shui-ye-wu-hong-233228","金陵诸家山水花卉册-仿李成山水页",[24,53,54,304,56,27,26,7,28,78,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff024a8ec9b6e0df9a39e8246585e9f.jpg",[],{"id":7556,"slug":7557,"title":7558,"dynasty":283,"author":284,"museum":159,"description":6707,"tags":7559,"thumbUrl":7560,"material":39,"size":39,"collection":39,"collections":7561,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},233227,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-gao-yu-shan-shui-ye-yi-ming-233227","金陵诸家山水花卉册-高遇山水页",[24,54,304,56,27,26,31,178,79,33,32,376,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18007eb39db55e0516ed75e2fdad6c5.jpg",[],{"id":7563,"slug":7564,"title":3755,"dynasty":48,"author":284,"museum":131,"description":6698,"tags":7565,"thumbUrl":7566,"material":244,"size":6701,"collection":39,"collections":7567,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":89},233131,"xue-shan-xing-lv-tu-zhou-yi-ming-233131",[24,54,55,56,27,26,534,7,191,33,1094,179,79,413,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec435ee8ae34d835aa5872355d8cde09.jpg",[],{"id":7569,"slug":7570,"title":7571,"dynasty":283,"author":7572,"museum":114,"description":7573,"tags":7574,"thumbUrl":7575,"material":120,"size":121,"collection":39,"collections":7576,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},230878,"zhong-jin-shi-song-mei-tu-shan-mian-sun-ji-rui-230878","钟进士送妹图扇面","孙基瑞","此作以浅淡设色铺陈场景，钟馗虬髯横剑，威严沉稳，妹妹安坐驴背，温婉静和，仆役肩挑酒食随行。淡墨晕染出郊野平坡枯木，清寂氛围感十足。线条简练挺劲，将人物神态刻画入微，刚柔反差鲜明，钟馗的凛然与小妹的柔媚相互映衬，细节生动鲜活。设色淡雅秀润，笔墨兼具写意与工致，将民间送妹传说，绘就出灵动古雅的意趣，是极具韵味的仕人小品，尽显传统人物画的雅致情致。",[777,24,54,25,149,30,7,873,2762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eaa85281443b028d59b1239b5802ee2.jpg",[],{"id":7578,"slug":7579,"title":663,"dynasty":283,"author":664,"museum":114,"description":7580,"tags":7581,"thumbUrl":7582,"material":39,"size":39,"collection":39,"collections":7583,"showCount":3674,"zanCount":11,"manualWeight":11,"mainColor":67},229016,"fang-gu-shan-shui-ce-wang-hui-229016","此作取冬初水村之景，淡墨晕染出濛濛寒雾，远山以留白素裹，将冬日清寂铺陈开来。堤岸老柳残条轻垂，陂塘枯敛的莲叶错落，村舍隐于深林之间，曲径蜿蜒通幽，寥寥数笔便将村居安闲静谧勾勒尽致。\n\n用笔秀润雅致，以淡赭轻敷衬出秃木苍劲，墨色与留白相映，氤氲出空濛冷冽的水乡冬韵，将江南冬日清寒又安宁的诗意藏于尺幅间，尽显文人山水温婉雅致的意趣。",[24,667,27,25,26,7,3488,58,231,403,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b388f3716f969182de3b18816e228a.jpg",[],{"id":7585,"slug":7586,"title":7587,"dynasty":72,"author":284,"museum":114,"description":7588,"tags":7589,"thumbUrl":7590,"material":39,"size":39,"collection"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太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[24,53,56,25,304,26,7,403,57,59,898,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b6cb88617f59c43f749c11bc7316a7.jpg",[],{"id":7799,"slug":7800,"title":7801,"dynasty":283,"author":7802,"museum":114,"description":7803,"tags":7804,"thumbUrl":7805,"material":39,"size":39,"collection":39,"collections":7806,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},238954,"ren-wu-ce-ye-zhu-ba-238954","人物册页","祝芭","冬日萧寂的深院一角，枯木虬枝托着清寒，竹影依偎院墙。门内士人垂目静立，似对院下稚童的嬉闹视若无睹，动静相映间晕开松弛闲淡的氛围。\n\n设色浅淡雅致，笔意柔婉细腻。虬枝勾勒见骨力，衣纹走线轻缓舒展，将孩童打闹的鲜活跳脱，与门畔观者的沉静疏离两两对照，把深冬院落里的日常闲趣晕染开来，淡墨晕就的浅淡背景，让这份冬日里松弛鲜活的片刻意韵愈发悠长。",[24,25,134,304,30,191,7,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1291b563754b8801a1005c65cb9b4cdc.jpg",[],{"id":7808,"slug":7809,"title":6537,"dynasty":283,"author":6012,"museum":114,"description":6013,"tags":7810,"thumbUrl":7811,"material":39,"size":39,"collection":39,"collections":7812,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},238826,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238826",[24,54,304,25,27,256,99,98,26,191,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6912eb7d16d737b45ed6a714c4c32188.jpg",[],{"id":7814,"slug":7815,"title":7816,"dynasty":283,"author":284,"museum":114,"description":7817,"tags":7818,"thumbUrl":7819,"material":39,"size":39,"collection":39,"collections":7820,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},238814,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238814","董诰律宣韶景册","此作以淡墨晕染铺就寒山雪境，远山层叠留白覆雪，岩岫苔点簇簇，暗衬积雪清润空寂。近岸枯木虬枝错落，寒林萧疏却暗含待春的生机，山坳隐见茅舍寺塔，曲水沿山逶迤，悠悠漾开山野空寂意趣。\n\n画师以勾勒皴擦写就山石肌理，淡墨晕染区分雪色虚实，留白见巧，不着艳色，全凭水墨层次拉开远近景深，将空山初雪的静谧清寒尽数铺展，晕出冬雪将过、春信悄临的澹澹诗意，尽显文人山水寄情林泉，静悟岁序轮转的清雅意韵。",[24,54,56,27,304,99,26,179,319,100,7,136,677,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2501cf60e869162a2c68158d198d7d86.jpg",[],{"id":7822,"slug":7823,"title":1386,"dynasty":283,"author":2479,"museum":114,"description":2480,"tags":7824,"thumbUrl":7825,"material":39,"size":39,"collection":39,"collections":7826,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":89},238143,"shan-shui-ce-yun-xi-238143",[24,56,25,27,304,26,137,319,486,7,32,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc339c6de087e38704a500ba1e8ac0145.jpg",[],{"id":7828,"slug":7829,"title":1386,"dynasty":283,"author":2479,"museum":114,"description":2480,"tags":7830,"thumbUrl":7831,"material":39,"size":39,"collection":39,"collections":7832,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},238140,"shan-shui-ce-yun-xi-238140",[24,56,27,26,29,509,7,31,33,57,32,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d48b2ed33b731d2b7fc787c0de2a210.jpg",[],{"id":7834,"slug":7835,"title":5202,"dynasty":283,"author":5203,"museum":114,"description":7836,"tags":7837,"thumbUrl":7838,"material":39,"size":39,"collection":39,"collections":7839,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},237731,"wu-sheng-shi-yi-tu-ce-huang-yi-237731","此作用淡墨轻晕寒滩，枯柳虬枝错落排布，以浅淡笔墨勾勒出萧索荒寒的江岸冬色。空阔水面之上，仅以数笔极简线条点染孤舟行人，大片留白尽显江渚清寂空疏。\n右侧题诗与画境相映，将衰草寒林、闲鸥独立的诗意尽数铺展，笔墨简淡却意韵悠长。整幅画作以简驭繁，淡色浅墨晕染出清冷孤高的氛围感，将冬日水岸的寂寥之意蕴于留白浅绘间，尽显以诗入画、以画载情的文人雅致，淡而不寡，简中藏深，悠悠古意漫溢纸面。",[24,54,304,56,25,26,78,7,177,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c6f89955ac67d99ad880e3650d3f97.jpg",[],{"id":7841,"slug":7842,"title":1386,"dynasty":283,"author":7843,"museum":159,"description":7844,"tags":7845,"thumbUrl":7846,"material":39,"size":39,"collection":39,"collections":7847,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},237558,"shan-shui-ce-wen-dian-237558","文点","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,54,56,27,26,29,7,31,33,2855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90033ac0889179072268967ec37842a1.jpg",[],{"id":7849,"slug":7850,"title":1386,"dynasty":283,"author":2741,"museum":114,"description":7851,"tags":7852,"thumbUrl":7853,"material":39,"size":39,"collection":39,"collections":7854,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},237107,"shan-shui-ce-cha-shi-biao-237107","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,56,27,304,26,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932bf4e23892e521f49f6c8c15827234.jpg",[],{"id":7856,"slug":7857,"title":1386,"dynasty":18,"author":7858,"museum":114,"description":7859,"tags":7860,"thumbUrl":7861,"material":61,"size":39,"collection":39,"collections":7862,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},237031,"shan-shui-ce-zhang-yan-237031","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[24,54,304,56,26,29,7,31,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd238f63d766ecb6c2dfdfe066240dff.jpg",[],{"id":7864,"slug":7865,"title":7866,"dynasty":18,"author":2694,"museum":114,"description":3174,"tags":7867,"thumbUrl":7868,"material":120,"size":121,"collection":39,"collections":7869,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},235770,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-bai-lian-jing-tu-ye-lu-zhi-235770","吴门诸家寿袁方斋三绝册-白莲泾图页",[24,54,304,56,26,33,178,57,2402,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2e309fbe02004711f5f56e85083f44.jpg",[],{"id":7871,"slug":7872,"title":7873,"dynasty":283,"author":3359,"museum":114,"description":7874,"tags":7875,"thumbUrl":7876,"material":61,"size":7877,"collection":39,"collections":7878,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},234887,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234887","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,54,304,56,25,26,35,7,99,98,287,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ea3f7a2022586320112e00571e5695.jpg","纵21厘米，横27厘米",[],{"id":7880,"slug":7881,"title":1386,"dynasty":283,"author":4287,"museum":114,"description":7775,"tags":7882,"thumbUrl":7883,"material":120,"size":121,"collection":39,"collections":7884,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":89},234861,"shan-shui-ce-wang-gai-234861",[24,304,25,26,35,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1563bebaf6a5a1a98350d83871f55fa.jpg",[],{"id":7886,"slug":7887,"title":7888,"dynasty":283,"author":7889,"museum":114,"description":7890,"tags":7891,"thumbUrl":7892,"material":39,"size":39,"collection":39,"collections":7893,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},234600,"shan-shui-wan-shan-yuan-tong-234600","山水纨扇","袁桐","袁桐，字琴南，号琴甫（一作琴圃），又署琴居士，清朝钱塘（今杭州）人。枚（一七一六至一七九七）侄。官直隶河工通判。工小楷篆书，尤善隶法，下笔奇态，类陈鸿寿。篆刻师钟鼎、汉砖，胎息甚古。金碧山水得仇英遗意，设色花卉雅韵欲流。能诗。《墨林今话、瓯钵罗室书画过目考、清朝书画家笔录、广印人传》",[24,777,56,25,27,26,79,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89530fcde457ec3edbfa6bd3f2f1ed1.jpg",[],{"id":7895,"slug":7896,"title":7223,"dynasty":72,"author":284,"museum":114,"description":7897,"tags":7898,"thumbUrl":7900,"material":39,"size":39,"collection":39,"collections":7901,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":43},227849,"han-ke-shan-zhe-tu-yi-ming-227849","此作用笔苍劲老辣，绘就隆冬寒林之景。虬曲古柯凝着薄雪，枝桠枯瘦萧疏，晕染出彻骨清寒。两只山鹧栖于枝头，羽色晕染细腻，墨色浓淡间绒羽质感尽显，神态安闲静穆，为荒寂雪景添上灵动生机。\n\n整幅小品以极简布局营造出幽谧冷寂的意境，工写结合，山水小景与花鸟相映成趣，于简淡中藏着精微刻画，将冬日林泉的清冷凝寂与禽鸟的鲜活生机相融，尽显宋人清冷雅致的审美意趣，方寸之间，意蕴悠长。",[23,53,24,54,777,134,25,268,7,7899,35,176,99],"山鹧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af24f946845e287b4724601d027e49d.jpg",[],{"id":7903,"slug":7904,"title":7905,"dynasty":283,"author":7906,"museum":114,"description":7907,"tags":7908,"thumbUrl":7909,"material":39,"size":39,"collection":39,"collections":7910,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},224251,"chu-zheng-tu-zhou-xu-fang-224251","出征图轴","徐方","此作用淡赭晕染残阳暮色，远山层叠朦胧，戍楼孤峙山巅，猎猎军旗暗合将行肃穆。坡岸间人马错落，或缓行或伫立，寥寥数笔便将情态勾勒尽致，淡逸清润的笔触晕开边地荒疏萧索的氛围。\n\n左侧长题诗文与画作相映成趣，诗画合璧。整幅不施繁复皴擦，以极简笔墨烘托出征沉凝氛围，将将士临行之际的沉肃与边地苍茫糅合，于简淡悠远间暗蕴家国壮怀，尽显文人画融情于景的雅致意韵。",[23,24,54,56,25,55,26,30,585,117,377,7,269,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0af847b142d6a46f5a7689443523df.jpg",[],{"id":7912,"slug":7913,"title":7914,"dynas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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》。",[24,54,304,56,27,26,191,101,7,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51769c9ca6acc7b93c0cf228380035a0.jpg",[],{"id":8529,"slug":8530,"title":7493,"dynasty":283,"author":6012,"museum":114,"description":8531,"tags":8532,"thumbUrl":8533,"material":39,"size":39,"collection":39,"collections":8534,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},238774,"shan-shui-ren-wu-xiao-ce-dong-gao-238774","此作以淡设色绘就冬日乡景，枯木虬枝疏朗劲挺，淡墨晕开薄雾清寒。村道间行人往来，挑担赶路、呼伴闲行，更有群鸭嬉游，鲜活的市井烟火铺满乡路，左侧村居错落朴拙，右侧重楼临水静立，将野趣日常与雅致楼宇相映成趣。\n浅赭铺陈水岸村路，留白晕出空濛寒意，笔致细劲写实，人物衣袂鲜活灵动，老树苍古拙朴。把冬日元寂的郊野氛围，揉进温热的人间烟火，清雅题字与画面相融，尽显江南冬日里的闲淡温煦，藏着文人画里的诗意日常。",[24,54,304,25,26,30,77,7,32,178,376,536,815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd376ac119c42d6991c1fcc9112b6c515.jpg",[],{"id":8536,"slug":8537,"title":8538,"dynasty":283,"author":7132,"museum":114,"description":8539,"tags":8540,"thumbUrl":8541,"material":39,"size":39,"collection":39,"collections":8542,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},238733,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238733","画弘历和江文通诗意图册","此作用淡晕轻皴铺展江月夜色，远山衔着孤月，云气在峰峦间缓缓晕染，江天化作一片烟水空蒙，不见艳色，只余水墨清寂。近岸老木虬枝盘曲，槎桠错落，将萧索秋意藏在枝桠皴纹里。白衣文士独立岸畔，凝望着浩渺江波，把羁旅怀人的怅惘尽数融在眼底。\n\n右上角题诗笔意清隽，和水墨山水呼应着诗作里的迟暮怅惋，将文辞幽思与山水空寂相融，淡墨绘就的不仅是江天夜色，更是藏在山月江波里的飘零愁绪，简淡疏朗间，清冷孤高的诗意漫溢开来，尽书人事聚散无常的叹惋。",[24,56,26,30,898,7,28,304,27,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2a703d5dc4d9676ff7299a37840bc0.jpg",[],{"id":8544,"slug":8545,"title":8546,"dynasty":283,"author":284,"museum":114,"description":8547,"tags":8548,"thumbUrl":8549,"material":120,"size":121,"collection":63,"collections":8550,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},238579,"qing-ren-lie-quan-tu-ce-yi-ming-238579","清人猎犬图册","寒林雪色清寂，冷月斜挂枯梢。玄色猎犬肌理劲健，四蹄腾空，叼获猎物疾奔而去，将猛犬矫捷悍勇之姿刻画得淋漓尽致，灵动生机呼之欲出。左侧行书笔力清劲，文辞与绘作呼应，详述猎犬忠勇机敏之性。整作工写相宜，设色淡逸清润，将郊野荒寒的冬日氛围与猛犬骁悍相融，形神兼备，兼具画意与文趣，是意韵古雅的精妙小品。",[24,54,304,25,134,269,7,968,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd063d5f5877f80773be44f4409964346.jpg",[63,277],{"id":8552,"slug":8553,"title":8554,"dynasty":283,"author":956,"museum":114,"description":8555,"tags":8556,"thumbUrl":8557,"material":39,"size":39,"collection":39,"collections":8558,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},238532,"shan-shui-xiao-ce-qian-wei-cheng-238532","山水小册","此作以淡墨晕开冬日荒寒之境。坡岸巨石敦厚朴拙，干笔皴擦勾勒肌理，尽显嶙峋苍劲。几株枯木虬曲错立，枝桠疏朗舒展，留白处晕开清寂萧寒。侧畔细竹伶仃探立，一点生机揉碎冷意。远景平岗淡染如烟，以留白代浩渺水色，铺展出空蒙江天。\n\n笔墨简淡清隽，以虚写实，寥寥数笔便将江野疏旷冷逸尽显。笔意松秀沉静，萧索之中藏着澹泊文心，以简驭繁，把幽寂淡远的林下之思融在尺幅之间，尽显文人山水小品的雅致空灵。",[24,54,304,56,26,35,7,101,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bfea9c680036f8238928879145b5857.jpg",[],{"id":8560,"slug":8561,"title":1386,"dynasty":283,"author":6529,"museum":114,"description":8562,"tags":8563,"thumbUrl":8564,"material":39,"size":39,"collection":39,"collections":8565,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},238194,"shan-shui-ce-tang-dai-238194","此页诗画合璧，尽显林泉幽致。近处崖石隐现，杂木萧疏挺秀，村居藏于浓荫之间，野水萦回蜿蜒，远山以淡墨晕染，晕开空濛秋容。\n\n笔墨温润秀雅，干笔皴擦写出崖石苍朴质感，林木勾勒简净有致，淡墨轻施铺展悠远平阔的水色天光。一旁楷书诗作与画意呼应，淡扫林橫野水，苔石覆古藓，将幽绝尘喧的山居意趣铺陈开来，笔意清和，意境寂然，尽显幽栖深谷、远避尘嚣的林下高致。",[24,56,27,54,304,26,31,178,7,57,376,32,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94898f64c5db988d8c972424e0eae704.jpg",[],{"id":8567,"slug":8568,"title":1386,"dynasty":283,"author":2479,"museum":114,"description":8569,"tags":8570,"thumbUrl":8571,"material":39,"size":39,"collection":39,"collections":8572,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},238155,"shan-shui-ce-yun-xi-238155","此作用淡墨勾勒尖削峰林，以留白晕染雪意，群峰莹白清寒，如被素雪裹覆。山坳板桥茅舍隐现，枯木疏枝错落溪岸，寒水无波，处处漫着冬日的清寂萧疏。\n\n笔墨极简却意韵悠长，以劲爽线条勾勒山石肌理，淡墨皴擦写出雪中山峦的苍润质感，不着粉白却尽显冬山素净。搭配左侧题诗，诗书相映，将林下幽居的出世雅趣融在尺幅之间，借清冷冬景寄寓超脱孤高的文人襟怀，淡远空寂中藏着静谧禅意。",[24,54,304,56,27,98,256,99,26,78,33,77,31,7,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ee8007cd6cbc51f1607ef9f15f0123.jpg",[],{"id":8574,"slug":8575,"title":299,"dynasty":283,"author":8576,"museum":114,"description":8577,"tags":8578,"thumbUrl":8580,"material":39,"size":39,"collection":39,"collections":8581,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},237947,"shan-shui-tu-ce-liu-yu-237947","柳堉","此帧以淡墨晕染江南村居之景，近岸林麓间村舍错落，茅庐覆草朴野天然，远渚轻峦隐于烟岚薄雾间，平远之境如诗铺展。笔墨松秀温润，以干笔淡皴勾勒坡岸林木，墨色清浅柔和，不着浓艳重彩，将水乡的清宁安谧晕染尽致。行书题跋与画意相映，文心绘境相融，将文人幽居寄怀山水的雅兴藏进淡墨烟岚中，观之如临水畔闲坐，静看烟波日晚，尽显萧散冲淡的意趣，幽恬静穆间，满是江南水乡的温润诗意。",[24,54,304,56,27,8579,26,7,32,57,1377,58,118],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a1e37bc93113bf7a1da78430e9e93d.jpg",[],{"id":8583,"slug":8584,"title":299,"dynasty":283,"author":8585,"museum":114,"description":8586,"tags":8587,"thumbUrl":8588,"material":120,"size":121,"collection":39,"collections":8589,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},237126,"shan-shui-tu-ce-yao-song-237126","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,54,304,56,26,7,117],"https:\u002F\u00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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,56,149,304,26,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e04c16d43ae47478509c2ae93a2b93.jpg",[],{"id":8628,"slug":8629,"title":8630,"dynasty":283,"author":664,"museum":114,"description":3904,"tags":8631,"thumbUrl":8632,"material":39,"size":39,"collection":39,"collections":8633,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},234261,"jiang-gan-qi-shu-tu-juan-wang-hui-234261","江干七树图卷",[23,24,54,162,56,26,27,256,99,100,321,31,1157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0508feeed1b0e9cd3ecabf7ad66ce29.jpg",[],{"id":8635,"slug":8636,"title":8637,"dynasty":48,"author":284,"museum":131,"description":8638,"tags":8639,"thumbUrl":8643,"material":61,"size":8644,"collection":39,"collections":8645,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":89},232259,"ying-zhen-xiang-yi-ming-232259","应真像","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[53,24,848,30,25,149,8640,3588,7,8641,99,8642],"晕染","袈裟","沉郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0511087ee38eb77c532302d97cf4bf.jpg","104.1x50.3",[],{"id":8647,"slug":8648,"title":8649,"dynasty":2882,"author":8650,"museum":114,"description":8651,"tags":8652,"thumbUrl":8662,"material":120,"size":121,"collection":39,"collections":8663,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":89},232087,"midieval-war-scene-musee-d-orsay-france-de-jia-232087","Midieval War Scene - - Musee d'Orsay (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[2887,25,8653,8654,585,30,8655,8656,7,8657,8658,8659,8660,8661,2765],"中世纪","战争场景","裸体人物","士兵","火焰","战场","尸体","弓箭","动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff621e3c45b09b3d92fe8b32435117374.jpg",[],{"id":8665,"slug":8666,"title":8667,"dynasty":18,"author":284,"museum":114,"description":8668,"tags":8669,"thumbUrl":8670,"material":39,"size":39,"collection":39,"collections":8671,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":89},228810,"su-li-qi-bie-tu-yi-ming-228810","苏李泣别图","朔风卷雪，枯木枝桠凝霜，荒野孤寒萧索。执手二人垂眸泫然，指尖相抵，千言哽在喉间，将故知诀别、家国相隔的沉恸藏于相拥之间。侧立侍从掩袖黯然，身畔麋鹿亦似感知悲戚，垂首静立。苍劲线条勾勒出人物怆然神态，淡墨晕染开漫天荒寒，将乱世里身不由己的离愁别绪尽数铺展，把这一段千古伤怀的诀别凝于绢素，凄清沉郁的悲情漫溢画面，余韵悠长。",[23,53,24,54,55,149,30,7,319,7135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe38fb74702a85c2f0bce08ba0330270.jpg",[],{"id":8673,"slug":8674,"title":8675,"dynasty":18,"author":284,"museum":114,"description":8676,"tags":8677,"thumbUrl":8678,"material":39,"size":39,"collection":39,"collections":8679,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":89},228774,"san-jiao-tu-yi-ming-228774","三教图","此作用淡墨轻色铺就萧寒冬景，枯松虬枝蟠曲，山石皴染疏淡清寂。三位宗师比肩而立：居中佛陀身披赭红僧袍，神态安和慈悲；左侧道家装束素洁，持法器缓立；右侧儒者宽袍端方，意态温厚从容。\n\n三人情态融洽，暗合明代三教合流的思潮。画作笔墨极简却传神勾勒出人物气韵，设色克制素雅，背景荒寒萧索更衬出三人的超世浑穆，将思想交融的深意寄于清冷悠远的意境中，以绘事暗合时代文化内核，意蕴悠长。",[23,24,54,25,149,56,30,7,35,848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc952d2dd4a35924f92022678f5059a29.jpg",[],{"id":8681,"slug":8682,"title":8683,"dynasty":48,"author":284,"museum":114,"description":8684,"tags":8685,"thumbUrl":8686,"material":39,"size":39,"collection":39,"collections":8687,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":89},228237,"xue-shan-lv-yun-tu-yi-ming-228237","雪山驴运图","此作用淡墨晕染铺就寒林雪色，留白摹写寒江远汀，营造出清寂辽远的冬日荒寒。枯木虬曲苍劲，枝桠间尽是萧寒之气，山石以干笔皴擦，棱角硬朗，带着冬日的冷峭坚硬。\n画面一隅的驴队缓行于雪原，为空寂的天地添上一抹人间烟火气，动静之间，将冬日行旅的艰辛苦寒烘托尽致。\n整幅笔墨简淡苍疏，以极简的布局勾勒出萧索荒寒的意境，尽显散淡清寂的气质，把冬日山乡的萧寒况味藏进每一处笔墨细节之中。",[23,24,54,26,56,25,27,534,1002,7,31,968,178,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F325fdb2e4e5adf4d6327348c425ab759.jpg",[],{"id":8689,"slug":8690,"title":8691,"dynasty":283,"author":6462,"museum":114,"description":8692,"tags":8693,"thumbUrl":8694,"material":511,"size":8695,"collection":39,"collections":8696,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},223255,"yan-shan-ba-jing-tu-2-tai-ye-qiu-feng-zhang-ruo-cheng-223255","燕山八景图-2-太液秋风","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,24,54,26,25,402,77,191,29,7,99,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3b62de7a2ab18ba86850270195a108.jpg","34.7cm，横40.3cm",[],{"id":8698,"slug":8699,"title":8700,"dynasty":283,"author":7132,"museum":131,"description":8701,"tags":8702,"thumbUrl":8703,"material":1401,"size":8704,"collection":39,"collections":8705,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":67},223112,"duan-qiao-can-xue-zhou-dong-bang-da-223112","断桥残雪轴","《断桥残雪图》画的是杭州西湖十景之一“断桥残雪”景。白堤第一桥曰断桥，界于前后两湖之间。春雪未消，悉琼林瑶树，晶莹朗澈。\n断桥残雪是西湖上著名的景色，以冬雪时远观桥面若隐若现于湖面而称著。属于西湖十景之一。每当瑞雪初霁，站在宝石山上向南眺望，西湖银装素裹，白堤横亘雪柳霜桃。断桥的石桥拱面无遮无拦，在阳光下冰雪消融，露出了斑驳的桥栏，而桥的两端还在皑皑白雪的覆盖下。依稀可辩的石桥身似隐似现，而涵洞中的白雪奕奕生光，桥面灰褐形成反差，远望去似断非断，故称断桥。明代画家李流芳《西湖卧游图题跋——断桥春望》称：“往时至湖上，从断桥一望，魂销欲死。还谓所知，湖之潋滟熹微，大约如晨光之着树，明月之入庐。盖山水映发，他处即有澄波巨浸，不及也。”",[23,24,54,55,56,25,26,137,78,191,7,57,1800,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2cb61ef0f3ef3886ddf67e4ca4abea.jpg","133x66cm",[],{"id":8707,"slug":8708,"title":8709,"dynasty":283,"author":8710,"museum":1983,"description":8711,"tags":8712,"thumbUrl":8713,"material":8714,"size":8715,"collection":39,"collections":8716,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":39},220740,"shan-shui-ji-7-wang-shi-min-weng-ling-wu-hong-deng-220740","山水集7","王時敏,翁陵,吳宏等","这幅小品以枯笔写古木，虬曲苍劲的枝干如铁戟舒展，皴染极简，带着倔强的荒寒生机。淡墨轻扫山石，留白晕做空濛云烟，虚实相生间勾勒出空山萧寂之境。\n\n全作用笔简淡古雅，以意造境，不重细节刻画，仅以寥寥数笔铺陈出冬日山居的荒寒淡远，尽显以少胜多、以简驭繁的笔墨意趣。清疏画面藏着沉静古意，带着疏朗旷远的林下之风，是文人水墨里清逸淡宕的佳作。",[24,56,304,26,28,7,31,57,3082,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856014f15df97baf7fb6ee0862ff24e6.jpg","水墨,紙本,冊","各約22 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清幽的意境扑面而来，尽显水墨写意的极简之美，藏着中式审美的留白哲思。",[24,56,304,99,7,474,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1473a2f35b6349dfb8da90e8750a86e5.jpg",[],{"id":8877,"slug":8878,"title":1386,"dynasty":283,"author":7132,"museum":114,"description":8879,"tags":8880,"thumbUrl":8881,"material":120,"size":121,"collection":39,"collections":8882,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},238686,"shan-shui-ce-dong-bang-da-238686","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”。",[24,54,304,56,27,26,191,7,31,608,32,178,57,3480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc12139910308b4ff24fe3275e777ba.jpg",[],{"id":8884,"slug":8885,"title":1386,"dynasty":283,"author":8886,"museum":114,"description":8887,"tags":8888,"thumbUrl":8889,"material":39,"size":39,"collection":39,"collections":8890,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},238019,"shan-shui-ce-lu-zun-shu-238019","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,56,304,149,26,178,32,30,29,33,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91d79fecb37728ca76a73c412c528d4c.jpg",[],{"id":8892,"slug":8893,"title":299,"dynasty":283,"author":8576,"museum":114,"description":8894,"tags":8895,"thumbUrl":8896,"material":120,"size":121,"collection":39,"collections":8897,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},237954,"shan-shui-tu-ce-liu-yu-237954","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,54,304,56,149,27,26,7,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce722b2afe04d6513aa5de7aa7a8371.jpg",[],{"id":8899,"slug":8900,"title":1386,"dynasty":283,"author":5507,"museum":114,"description":8901,"tags":8902,"thumbUrl":8903,"material":120,"size":121,"collection":39,"collections":8904,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},237914,"shan-shui-ce-cheng-ming-237914","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[24,54,304,149,56,26,7,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982dad0cd7bc65fc303756d6cf12c5b7.jpg",[],{"id":8906,"slug":8907,"title":1386,"dynasty":283,"author":5883,"museum":114,"description":8908,"tags":8909,"thumbUrl":8910,"material":39,"size":39,"collection":39,"collections":8911,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":89},237899,"shan-shui-ce-cheng-hui-hao-237899","乾隆庚戌年间画家",[24,54,304,56,27,26,7,191,31,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e7b68b37eb79ad76a5cea3713ffe73.jpg",[],{"id":8913,"slug":8914,"title":5202,"dynasty":283,"author":5203,"museum":114,"description":5204,"tags":8915,"thumbUrl":8916,"material":120,"size":121,"collection":39,"collections":8917,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},237724,"wu-sheng-shi-yi-tu-ce-huang-yi-237724",[24,54,304,56,149,7,176,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a17565f6a2029db412744cf526d229.jpg",[],{"id":8919,"slug":8920,"title":1386,"dynasty":18,"author":8593,"museum":114,"description":8594,"tags":8921,"thumbUrl":8922,"material":61,"size":39,"collection":39,"collections":8923,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},237043,"shan-shui-ce-li-hang-zhi-237043",[24,54,304,149,56,26,7,78,57,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb319f8656840cda158834f7f41a6093d.jpg",[],{"id":8925,"slug":8926,"title":6544,"dynasty":283,"author":8927,"museum":114,"description":8928,"tags":8929,"thumbUrl":8930,"material":39,"size":39,"collection":39,"collections":8931,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},236739,"shan-shui-shan-jiang-yun-236739","姜筠","此作用笔苍秀，以干笔勾勒皴擦写就近岸林木，枝桠错落尽显秋日萧疏之态，村居隐于林间，溪流蜿蜒穿绕，衬出山野幽寂。远景山峦以湿墨晕染，烟岚浮沉将峰峦晕化在空濛雾气中，远近层次悠然拉开，咫尺扇面铺展出悠远山境。\n全幅纯以水墨晕染施为，摒弃浓丽设色，以留白衬出林泉澹远之致，题诗落于一角，书画相映，将文人林下幽居的闲静意趣诉诸笔端，淡朴中藏着沉静的书卷雅韵，尽显传统山水诗画交融的隽永意境。",[24,54,777,56,27,26,7,31,57,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b1533f4d745fd43224f965bdb1374a.jpg",[],{"id":8933,"slug":8934,"title":8935,"dynasty":283,"author":8936,"museum":114,"description":8937,"tags":8938,"thumbUrl":8939,"material":39,"size":39,"collection":39,"collections":8940,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},236509,"sun-shan-shui-ce-wang-ji-236509","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。",[24,54,304,56,27,26,7,32,31,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14012ed9e656abb1897bf1006caaea0a.jpg",[],{"id":8942,"slug":8943,"title":663,"dynasty":18,"author":8093,"museum":114,"description":8944,"tags":8945,"thumbUrl":8946,"material":39,"size":39,"collection":39,"collections":8947,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},235623,"fang-gu-shan-shui-ce-shen-hao-235623","此帧以极简笔墨绘就冬日山隅，几株枯木虬枝疏朗，旁伴修竹柔劲挺秀，浅坡寒石错落，勾勒皴擦简率清逸。远景山峦以淡墨晕染虚化，留白间尽显空濛悠远。右上题诗与画意相生，将萧寒淡远的意境烘托尽致。整幅以少胜多，舍去繁缛细节，用清浅笔墨描摹出荒寒萧疏的冬日山景，尽显文人山水疏淡清远的格调，藏着画者寄情林泉的幽怀雅致。",[24,54,304,56,27,99,26,7,101,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466e922793b9d77af0d51a2061d7109.jpg",[],{"id":8949,"slug":8950,"title":8951,"dynasty":283,"author":6865,"museum":114,"description":8952,"tags":8953,"thumbUrl":8954,"material":39,"size":39,"collection":39,"collections":8955,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},234345,"you-niao-shi-tu-ce-jin-kun-234345","有鸟诗图册","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》",[24,54,304,256,99,25,26,176,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51d9be8cf617714b87349dbb806480b.jpg",[],{"id":8957,"slug":8958,"title":1386,"dynasty":283,"author":5507,"museum":159,"description":8959,"tags":8960,"thumbUrl":8961,"material":2915,"size":39,"collection":39,"collections":8962,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":67},234310,"shan-shui-ce-cheng-ming-234310","程鸣,清安徽歙县人，籍江苏仪徵，字友声，号松门。乾隆诸生。画山水每以秃笔渴墨，运以中锋，沉郁苍浑。诗出王士禛之门，与陈撰、方士庶、厉鹗为诗画友。",[24,56,304,27,26,7,32,31,179,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc7b55a5a32499b92067ba8ba8879c3.jpg",[],{"id":8964,"slug":8965,"title":8966,"dynasty":2882,"author":8967,"museum":114,"description":8968,"tags":8969,"thumbUrl":8972,"material":120,"size":121,"collection":39,"collections":8973,"s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Everett 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度，又褪去传统形象的凶戾，添了几分文人式的温厚秀逸。笔墨间尽显清隽雅致之韵，将钟馗形象赋予新的文人审美意趣，为清代人物画中兼具传统意蕴与个性表达的佳作。",[134,25,30,7,608,31,5097,8230,9044,388,23],"淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb12ced9f7689c68fe2f2cd1fce6d88a.jpg",[],"cbb493",{"id":9049,"slug":9050,"title":3377,"dynasty":18,"author":9051,"museum":50,"description":9052,"tags":9053,"thumbUrl":9054,"material":39,"size":39,"collection":39,"collections":9055,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":9056},202304,"shan-shui-tu-zhou-shang-guan-zhou-202304","上官周","淡墨晕染的山峦层叠起伏，云雾缭绕间显悠远之态，峰岩以皴法勾勒，肌理分明。近景枯树枝桠疏朗，笔法苍劲；小径旁一人伫立，似在凝思山水。左侧亭台隐于林麓，溪流绕石而过，动静相衬。整幅以水墨为基调，线条灵动，皴擦结合，将文人寄情林泉的闲逸心境融入景致，尽显雅致空寂的诗意氛围。",[26,56,27,3850,7,30,388,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8012f0f266dba50327363cd454c6c2f0.jpg",[],"a5947d",{"id":9058,"slug":9059,"title":9060,"dynasty":283,"author":664,"museum":50,"description":9061,"tags":9062,"thumbUrl":9063,"material":39,"size":39,"collection":39,"collections":9064,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":9065},202303,"tang-yin-shi-yi-tu-zhou-wang-hui-202303","唐寅诗意图轴","此图笔墨清润秀逸，兼具苍劲之致。近景枯树虬枝盘曲，竹影婆娑摇曳，掩映着一方古朴亭榭；中景平畴开阔，飞鸟点点添生机；远景层峦叠嶂，瀑布飞泻而下，云雾缭绕间显深远之境。构图疏密相宜，皴法灵动多变，既得诗意幽远之韵，又彰摹古出新之妙，将文人山水的雅致与自然野趣融于一体，尽显江南山水的清旷之美。",[26,27,101,191,176,7,56,287,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ddf9109212883e2b3f2bda6bb8fd33.jpg",[],"b5a695",{"id":9067,"slug":9068,"title":9069,"dynasty":283,"author":9070,"museum":50,"description":9071,"tags":9072,"thumbUrl":9073,"material":39,"size":39,"collection":85,"collections":9074,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":9075},201641,"fang-huang-gong-wang-shan-shui-tu-zhou-huang-jun-201641","仿黄公望山水图轴","黄均","这幅山水以水墨晕染见长，层岩叠嶂间云雾轻笼，一道飞瀑自山间垂落，溪流蜿蜒穿林而过。近岸枯树虬枝错落，笔法苍劲老辣；山石勾勒兼用皴法，纹理细腻且富有质感。整体意境清幽淡远，尽显文人画的雅致风骨，仿黄公望笔意，神韵毕肖，于简淡中见深致。",[24,56,26,27,287,55,7,79,608,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250d4fc1da551312d688da690cad6861.jpg",[85],"d4cac6",{"id":9077,"slug":9078,"title":9079,"dynasty":283,"author":2595,"museum":50,"description":9080,"tags":9081,"thumbUrl":9084,"material":39,"size":39,"collection":85,"collections":9085,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":9086},201479,"san-jue-tu-juan-dai-ben-xiao-201479","三绝图卷","此卷以水墨写山水，枯藤老树虬枝盘曲，姿态古拙；山石用干笔皴擦，线条苍劲，显丘壑嶙峋之态。亭屋隐于林麓间，与自然相融，意境清寂悠远。墨色层次分明，淡墨晕染山峦，浓墨点染树石，简括中见笔力，疏淡里藏韵致，尽显文人画的空灵淡泊。布局疏密有致，留白处引人遐思，传递出画家对自然与心境契合的深悟。",[56,26,7,31,6127,27,5411,388,9082,9083,23],"清疏简淡","新安画派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6aa78c35d404603e1699105784ac80.jpg",[85],"000000",{"id":9088,"slug":9089,"title":9090,"dynasty":18,"author":9091,"museum":50,"description":9092,"tags":9093,"thumbUrl":9096,"material":39,"size":39,"collection":39,"collections":9097,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":9098},201446,"song-jian-xuan-ya-tu-zhou-xiang-yuan-bian-201446","松涧悬崖图轴","项元汴","这幅画以水墨绘就山水景致，悬崖峭壁以简练线条勾勒，复施皴法表现山石肌理，厚重质感尽显。涧水蜿蜒穿流，虽无色彩却似闻声。近处枯树枝干疏朗，与苍松相映成趣，添得清寂之韵。笔墨层次丰富，浓淡干湿交织，既摹自然之态，又含文人雅意。画面意境悠远，松风涧鸣仿佛可闻，尽显山水灵秀与静谧。",[24,56,26,27,2016,9094,2807,31,7,55,9095],"涧","印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26e715b0428d3456e5ce9717cf7c2095.jpg",[],"a49a90",{"id":9100,"slug":9101,"title":9102,"dynasty":283,"author":664,"museum":50,"description":9103,"tags":9104,"thumbUrl":9105,"material":39,"size":39,"collection":85,"collections":9106,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":9107},201398,"yan-cun-san-mu-tu-zhou-wang-hui-201398","烟村散牧图轴","画面前景枯树枝干虬曲，以皴染结合之法勾勒，尽显苍劲质感；溪畔牧牛缓步，姿态悠然，村舍隐于林间，添几分生活意趣。远景山峦层叠，烟霭轻笼，笔墨虚实相间，晕染出江南冬日水乡的清寂氛围。整体设色淡雅，构图疏密有致，既承袭传统山水的笔墨精髓，又融入自然生机，传递出恬淡悠远的田园诗意，尽显文人山水的雅致韵致。",[24,26,27,25,7,7405,521,608,57,8419,2721,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9200f40148b85e14de3de2ee8c77936d.jpg",[85],"aa9b84",{"id":9109,"slug":9110,"title":9111,"dynasty":18,"author":3165,"museum":50,"description":9112,"tags":9113,"thumbUrl":9114,"material":39,"size":39,"collection":85,"collections":9115,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":9116},201352,"ren-wu-shan-shui-shan-xie-shi-chen-201352","人物山水扇","画面以虬曲枯树为核心，枝桠如铁线勾勒，苍劲中见细劲。树下楼阁隐于岩隙，结构精巧。左侧山石层叠，皴笔交错，既显嶙峋质感，又含浑厚气韵。空中数点飞鸟掠过，为静谧山水注入灵动生机。笔墨兼具粗放与精微，山石皴擦苍健有力，树木线条挺括利落，扇面弧形构图让景物错落有致，意境悠远清寂，尽显明代山水的雅致风骨。",[24,777,26,7,31,77,176,27,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce8b6df81b137fbe64341747269c038.jpg",[85],"d4bc9b",{"id":9118,"slug":9119,"title":9120,"dynasty":2882,"author":284,"museum":114,"description":9121,"tags":9122,"thumbUrl":9126,"material":120,"size":121,"collection":39,"collections":9127,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":67},289138,"marco-ricci-clearing-in-a-wooded-landscape-yi-ming-289138","Marco Ricci--Clearing in a Wooded Landscape","以棕褐墨色铺就林间幽境，右侧古树枝干虬曲苍劲，舒展的细枝托举簇叶，宛如在风里舒展筋骨，带着沉厚古拙的野趣。左侧枯松垂挂如苔的线条，将荒疏清冷的质感晕开，留白的天光漫过坡石，远景林影淡成朦胧的晕染，似笼着一层薄雾。\n\n线条松灵兼具力道，淡墨晕出山岩与植被的层次，将幽僻林中空地的静谧生机揉合一处，仿佛能触到林间湿润的风，听见枝桠轻晃的声响，寥寥几笔便将郊野林泉的悠然况味尽数晕开，把无人惊扰的山野闲趣封存在这纸面之间。",[9123,7145,9124,7,28,31,9125],"风景画","线描","林间空地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc214d933e18f12895a88f7c652b2220b.jpg",[],{"id":9129,"slug":9130,"title":9131,"dynasty":2882,"author":284,"museum":114,"description":9132,"tags":9133,"thumbUrl":9138,"material":120,"size":121,"collection":39,"collections":9139,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":67},289088,"jean-jacques-de-boissieu-farmyard-yi-ming-289088","Jean Jacques de Boissieu--Farmyard","这幅乡野画作用明暗晕染铺陈出松弛的午后日常。笔触朴拙自然，将柔光揉进粗粝的乡居肌理里，木构阳台爬着荒草，石墙带着风霜磨蚀的痕迹，堆置的干草捆漫溢慵懒的山野气息。\n\n三两村人散落各处，阳台孩童凭栏眺望，近景的农夫歇坐长木休憩，墙根路人蜷卧酣睡，闲散松弛漫在风里。左侧林木枯荣交织，虬曲枝桠和乡居的破败粗朴相映，勾勒出未加修饰的原生野趣。\n明暗层次晕开静谧氛围，将乡居烟火的温柔日常定格，满是质朴治愈的松弛暖意。",[7145,9134,9135,9136,7,815,6291,30,9137,4749],"西洋画","风俗画","农舍","干草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79807babc00ca6f5c74e6dffa05938a.jpg",[],{"id":9141,"slug":9142,"title":9143,"dynasty":2882,"author":284,"museum":114,"description":9144,"tags":9145,"thumbUrl":9150,"material":120,"size":121,"collection":39,"collections":9151,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":43},289085,"jean-laurent-legeay-architectural-fantasy1-yi-ming-289085","Jean Laurent Legeay--Architectural Fantasy1","赭红单色晕染出沉郁悠远的氛围，前景枯虬老树盘错伸展，苍劲枝桠自然框住画面，将视线引向朦胧雾气里的古典断壁残垣。石阶遗迹依偎林木，带着时光剥蚀的沧桑质感。\n\n圆形画幅收拢景致，将自然荒疏与人工废墟柔化糅合，晕染的笔触晕开怀古幽思，凭吊逝去的古典荣光。静谧里漫着旧时光的余韵，将废墟之美藏在细腻的线条间，引观者坠入一场朦胧的古典幻梦。",[9134,7145,7,6393,9146,9147,9148,9149],"残垣断壁","苍凉","建筑风景画","单色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030434abd561ecafeec8de0e6a8e82e5.jpg",[],{"id":9153,"slug":9154,"title":9155,"dynasty":2882,"author":284,"museum":114,"description":9156,"tags":9157,"thumbUrl":9158,"material":120,"size":121,"collection":39,"collections":9159,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":67},288766,"salvator-rosa-landscape-with-hills-and-a-lake-trees-in-right-foreground-yi-ming-288766","Salvator Rosa--Landscape with hills and a lake, trees in right foreground","这幅速写以灵动随性的线条，铺展郊野湖畔的幽寂意趣。右侧前景虬曲枯木打破规整构图，牵引视线纵深游走。左侧丘坡以疏密浓淡的线条铺陈植被，顿挫间区分出坡地起伏与林叶层次。水面以极简淡线勾勒，大片留白烘托出沉静空濛的氛围。\n\n岸侧点缀的渺小人物，为山野空境晕开一丝烟火暖意，平衡了丘林的空旷感。整作以朴拙写意的笔触，摒弃繁复修饰，将郊野松弛又清寂的瞬间气韵定格，尽显写生速写捕捉自然灵韵的动人魅力。",[149,26,2482,3630,7,30,9123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeed5c3cb95a34896c120938e667190d.jpg",[],{"id":9161,"slug":9162,"title":9163,"dynasty":2882,"author":284,"museum":114,"description":9164,"tags":9165,"thumbUrl":9171,"material":120,"size":121,"collection":39,"collections":9172,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":89},288761,"salvator-rosa-the-prodigal-son-kneeling-repentant-among-swine-yi-ming-288761","Salvator Rosa--The Prodigal Son Kneeling Repentant among 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i-ce-cha-shi-biao-236595",[24,54,304,56,27,26,7,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb74f071bc415e447038ca7fc2f9aaea.jpg",[],{"id":9330,"slug":9331,"title":9332,"dynasty":18,"author":7930,"museum":159,"description":9333,"tags":9334,"thumbUrl":9335,"material":39,"size":39,"collection":39,"collections":9336,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":67},236567,"xiao-ke-guan-shan-shui-ce-shao-mi-236567","小可观山水册","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[24,54,304,56,149,26,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2209776338ed5db2f744503d64328f45.jpg",[],{"id":9338,"slug":9339,"title":9340,"dynasty":18,"author":9341,"museum":114,"description":9342,"tags":9343,"thumbUrl":9345,"material":39,"size":39,"collection":39,"collections":9346,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":67},233604,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233604","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,54,304,9344,25,149,7,8276,99],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00a30313d352187a04f0ac8bfd8c3ea.jpg",[],{"id":9348,"slug":9349,"title":9350,"dynasty":18,"author":9341,"museum":114,"description":9342,"tags":9351,"thumbUrl":9352,"material":39,"size":39,"collection":39,"collections":9353,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":67},233359,"shi-zhu-zhai-pu-ce-hu-ri-cong-233359","十竹斋谱册",[24,25,304,1056,35,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6b4f1159d54878d92221e6e5e314fb.jpg",[],{"id":9355,"slug":9356,"title":9357,"dynasty":2882,"author":284,"museum":114,"description":9358,"tags":9359,"thumbUrl":9360,"material":39,"size":39,"collection":39,"collections":9361,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":67},230524,"fang-gu-fen-ben-sheng-bai-ren-wu-yi-ming-230524","仿古粉本胜白人物","此作以枯木寒崖铺就清寂底色，虬曲老木盘根错节，枯枝凌寒舒展，淡墨晕染出空濛幽邃的崖谷氛围。\n\n赤足尊者静立林间，粉衣以柔劲线条勾勒，晕染自然柔和，衣袂垂落间自带出尘意态。他眉目沉凝合袖垂首，似正沉湎禅思。画面工写相融，人物刻画工细传神，山水布景写意苍浑，淡雾晕开崖谷幽远意境，将禅者物我两忘的出世之态，融于荒萧寒林之中，尽显萧散淡远的禅林逸韵。",[23,24,25,56,30,7,31,287,149,55,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad08d06828551715713f6c0ca42ace4c.jpg",[],{"id":9363,"slug":9364,"title":9365,"dynasty":283,"author":7132,"museum":114,"description":9366,"tags":9367,"thumbUrl":9368,"material":39,"size":39,"collection":39,"collections":9369,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":67},228962,"dong-shan-hua-ce-shu-shu-ji-ti-do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porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[9240,9521,26,78,33,29,176,7,31,8180],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593220691aa9dad6352db57697923aff.jpg",[],{"id":9525,"slug":9526,"title":9527,"dynasty":283,"author":284,"museum":114,"description":9519,"tags":9528,"thumbUrl":9530,"material":120,"size":121,"collection":39,"collections":9531,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":89},260785,"cheng-hua-kuan-qing-hua-hua-niao-wen-wan-yi-ming-260785","成化款青花花鸟纹碗",[9240,9521,268,9529,176,101,7],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1eb86393b94ed9d1629a42a219653a.jpg",[],{"id":9533,"slug":9534,"title":9535,"dynasty":283,"author":284,"museum":114,"description":9536,"tags":9537,"thumbUrl":9539,"material":120,"size":121,"collection":39,"collections":9540,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},251662,"qing-yu-luo-han-mian-bi-tu-shan-zi-yi-ming-251662","青玉罗汉面壁图山子","以圆雕结合透雕技法，将禅意景致凝于青玉之上。罗汉垂眉敛目，衣褶流转柔和，似沉潜于静观冥思中。旁侧虬枝弯折出槎桠，苍劲嶙峋，与侧旁陡岩壁立的山岩，形成动静相映的意境。玉料自带的浅黄绺沁晕染岩面，晕开风霜斑驳的质感，素雅莹润的玉色衬出清寂淡远的禅味。将林下参禅的幽谧藏入玉石方寸间，尽显刀工对写意氛围感的精妙拿捏，把佛禅静思之美融于玉色刀痕中，清隽空灵，余韵悠长。",[9538,8842,873,848,30,319,7,35],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c3d691d662cae960ad0df2640e381c.jpg",[],{"id":9542,"slug":9543,"title":2032,"dynasty":283,"author":9544,"museum":114,"description":9545,"tags":9546,"thumbUrl":9547,"material":120,"size":121,"collection":39,"collections":9548,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},239389,"za-hua-ce-zhu-xiao-chun-239389","朱孝纯","朱孝纯（1729～1784）益州书画录附录误作朱纯孝。字子颍，号思堂，一号海愚，人呼戟髯。隶奉天汉军正红旗，东海（今山东郯城西）人。",[24,54,304,56,26,29,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7626d3369c029324a8e26db2d18b87.jpg",[],{"id":9550,"slug":9551,"title":663,"dynasty":283,"author":9262,"museum":114,"description":9263,"tags":9552,"thumbUrl":9553,"material":39,"size":39,"collection":39,"collections":9554,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},239300,"fang-gu-shan-shui-ce-wu-lin-239300",[24,304,56,27,26,7,31,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2466f6a35845612e673926953024cf.jpg",[],{"id":9556,"slug":9557,"title":9558,"dynasty":283,"author":7132,"museum":114,"description":8879,"tags":9559,"thumbUrl":9560,"material":120,"size":121,"collection":39,"collections":9561,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":89},238863,"wu-jia-shan-shui-ce-li-shi-zhuo-shan-shui-ye-dong-bang-da-238863","五家山水册-李世倬山水页",[24,54,304,149,56,26,7,77,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dee98636363dd19ac6a643dec84ccb8.jpg",[],{"id":9563,"slug":9564,"title":1386,"dynasty":283,"author":7132,"museum":114,"description":8879,"tags":9565,"thumbUrl":9566,"material":120,"size":121,"collection":39,"collections":9567,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},238687,"shan-shui-ce-dong-bang-da-238687",[24,54,304,56,27,26,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff00d8bc1e9024651a4570d2e29fc3a6.jpg",[],{"id":9569,"slug":9570,"title":1386,"dynasty":283,"author":7132,"museum":114,"description":8879,"tags":9571,"thumbUrl":9572,"material":120,"size":121,"collection":39,"collections":9573,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},238685,"shan-shui-ce-dong-bang-da-238685",[24,54,56,27,304,26,78,33,32,31,178,7,321,230,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f103bee86751e1d36f92cbabceda4f.jpg",[],{"id":9575,"slug":9576,"title":8546,"dynasty":283,"author":284,"museum":114,"description":9577,"tags":9578,"thumbUrl":9579,"material":120,"size":121,"collection":39,"collections":9580,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},238586,"qing-ren-lie-quan-tu-ce-yi-ming-238586","此作以工笔绘就郊原逐猎之景，寒岸枯木虬曲苍劲，枯枝寥寥衬出旷野清寂氛围。猎犬身姿舒展矫健，肌肉线条紧绷，正疾奔扑向仓皇逃窜的野兔，将追逐瞬间的紧张张力尽数定格。画家用工细笔触刻画出猎犬的矫捷剽悍与野兔的惊惶失措，细节生动写实。左幅行书古朴苍劲，文字与画意呼应，诠释猎犬的机敏迅猛。书画合璧，将狩猎的刹那鲜活留存于绢素，尽显写生功力，把郊野逐猎的野性灵动描摹得淋漓尽致，意境悠长隽永。",[24,54,304,134,25,256,98,2349,269,7,31,4747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82cce4918f57da0577c43a925853ae0a.jpg",[],{"id":9582,"slug":9583,"title":8546,"dynasty":283,"author":284,"museum":114,"description":9584,"tags":9585,"thumbUrl":9586,"material":120,"size":121,"collection":39,"collections":9587,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},238585,"qing-ren-lie-quan-tu-ce-yi-ming-238585","此作以工笔绘就郊野逐猎之景，寒枝衰草铺就荒疏底色，奔鹿惶急腾跃，四蹄舒展间尽显惊惧逃遁之态；猎犬弓身疾追，目光紧盯猎物，剽悍之势跃然绢上。\n\n设色清雅写实，兽毛纤毫毕现，将皮毛蓬松柔润的质感刻画入微，动感张力拉满。左侧题诗与画面呼应，文图相映，落笔既见精湛写生功底，又以狩猎野趣衬出雄健灵动之美，融工致写实与清雅文气于一体，尽显隽永意韵。",[24,54,304,25,134,98,256,99,269,7135,2349,7,1217,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870cdd7dcff2a1c197ab79f54aa003e1.jpg",[],{"id":9589,"slug":9590,"title":9591,"dynasty":283,"author":284,"mu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