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本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,91,57,58,26,28,29,36,7,92,32,34,93],"名画","孤舟","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7721b1ffd15bca0c3f537a750918a292.jpg","纸本,水墨","",[],278,{"id":100,"slug":101,"title":102,"dynasty":86,"author":87,"museum":88,"description":89,"tags":103,"thumbUrl":107,"material":95,"size":96,"collection":96,"collections":108,"showCount":109,"zanCount":110,"manualWeight":11,"mainColor":68},214575,"shan-shui-ce-4-wang-meng-214575","山水册-4",[24,26,28,58,29,36,7,104,105,106],"孤石","马","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5504fc38b09d31f62673a31f0f0e94.jpg",[],268,1,{"id":112,"slug":113,"title":114,"dynasty":86,"author":115,"museum":54,"description":116,"tags":117,"thumbUrl":119,"material":26,"size":96,"collection":43,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":68},218823,"qiu-lin-yuan-shan-tu-ni-zan-218823","秋林远山图","倪瓒","疏木萧疏，枝桠挺劲如铁，带着秋的清寒。远山淡抹，似笼轻烟，与空阔的水面相映成趣。笔墨枯淡却含韵致，枯笔皴擦见骨力，淡墨晕染显空灵。留白处意蕴悠长，仿佛天地间只剩风声掠过林梢，尘俗尽散。画面极简却藏深致，将文人的孤高与对自然的静观融入丘壑，清冷中透着宁静，空寂里含着哲思，恰是元人山水那份超脱尘世的清逸之境。",[23,24,57,26,28,29,36,7,118,104],"远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f642f6154c24c8d6629652c8982480.jpg",[43],239,{"id":123,"slug":124,"title":125,"dynasty":18,"author":73,"museum":54,"description":126,"tags":127,"thumbUrl":131,"material":77,"size":132,"collection":41,"collections":133,"showCount":134,"zanCount":135,"manualWeight":11,"mainColor":47},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[23,24,57,29,28,26,92,93,32,37,128,129,7,36,130],"蓑笠","渔乐","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[41,43],225,3,{"id":137,"slug":138,"title":139,"dynasty":18,"author":140,"museum":88,"description":141,"tags":142,"thumbUrl":145,"material":146,"size":96,"collection":41,"collections":147,"showCount":148,"zanCount":110,"manualWeight":11,"mainColor":47},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","李公麟","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。",[23,24,57,58,143,26,144,30,104,7,36,32],"白描","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg","绢本,水墨",[41,64],217,{"id":150,"slug":151,"title":152,"dynasty":52,"author":153,"museum":154,"description":155,"tags":156,"thumbUrl":157,"material":62,"size":158,"collection":43,"collections":159,"showCount":160,"zanCount":81,"manualWeight":11,"mainColor":161},219718,"qiu-lin-xian-diao-tu-shen-zhou-219718","秋林闲钓图","沈周","美国大都会艺术博物馆","《秋林闲钓图》以士人悠游林下的生活场景为主线，画一老者，端坐于河边树下坡地，全神执竿垂钓。画树错落有致，姿态优美，笔力古健。此图于成化十一年乙未（1475年）所作，作者沈周时年四十九岁。图上有沈周的题款：“繫舟烟浪夕，笑语溢柴闗。淡墨灯前画，故情江上山。相交父子者，岂在酒杯间。与君将白发，共对钓丝閒。予谬交志刚彭君父子间几三十年，志刚有古道，通予有无，非市郭拍肩执袂者比也。乙未长至后一日志刚擕酌至有竹居，秉烛写此图并题其上，聊寓感感而已，诗画云乎哉。沈周。",[24,26,28,25,29,30,36,104,129,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59ec7decf5cf8b949fc64e7998369.jpg","纵152.4厘米，横62.9厘",[43],211,"37474F",{"id":163,"slug":164,"title":165,"dynasty":18,"author":166,"museum":167,"description":168,"tags":169,"thumbUrl":173,"material":174,"size":175,"collection":41,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":47},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","上海博物馆","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,24,57,170,26,27,28,29,7,36,171,105,30,33,104,35,172],"册页","马车","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","绢本设色","纵26.2厘米，横27.3 厘米",[41,43,44],193,{"id":179,"slug":180,"title":181,"dynasty":86,"author":182,"museum":183,"description":184,"tags":185,"thumbUrl":189,"material":96,"size":96,"collection":96,"collections":190,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":68},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","黄公望","藏地不详","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[24,57,186,26,29,28,106,187,188,32,37,36,7],"长卷","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":193,"slug":194,"title":195,"dynasty":86,"author":196,"museum":167,"description":197,"tags":198,"thumbUrl":200,"material":77,"size":201,"collection":43,"collections":202,"showCount":203,"zanCount":135,"manualWeight":11,"mainColor":47},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","盛懋","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[24,57,29,27,199,28,30,93,92,128,129,36,7,26],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[43],175,{"id":205,"slug":206,"title":207,"dynasty":208,"author":209,"museum":210,"description":211,"tags":212,"thumbUrl":214,"material":62,"size":215,"collection":216,"collections":217,"showCount":218,"zanCount":219,"manualWeight":11,"mainColor":68},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然","清","王时敏","天津博物馆","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。",[24,57,25,26,28,213,29,36,34,60,104,7,106],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg","22.5x27.5","设色画精选",[216],149,4,{"id":221,"slug":222,"title":223,"dynasty":52,"author":153,"museum":54,"description":224,"tags":225,"thumbUrl":230,"material":231,"size":232,"collection":43,"collections":233,"showCount":234,"zanCount":81,"manualWeight":11,"mainColor":47},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,57,226,26,28,172,227,228,93,32,34,7,36,35,229],"山水画","云","树","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 2cm",[43,44],147,{"id":236,"slug":237,"title":238,"dynasty":18,"author":239,"museum":154,"description":240,"tags":241,"thumbUrl":243,"material":231,"size":244,"collection":41,"collections":245,"showCount":246,"zanCount":81,"manualWeight":11,"mainColor":47},221291,"shu-se-ping-yuan-tu-guo-xi-221291","树色平远图","郭熙","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n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。\n画中之景以河为界可分作前后两部分。\n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。\n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。\n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。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,57,186,26,28,242,29,34,7,36,104,93,92,106],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg","纵32.4厘米，横104.8厘米",[41,43,44],144,{"id":248,"slug":249,"title":250,"dynasty":52,"author":153,"museum":54,"description":251,"tags":252,"thumbUrl":256,"material":62,"size":257,"collection":258,"collections":259,"showCount":260,"zanCount":110,"manualWeight":11,"mainColor":68},219361,"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[24,91,57,25,27,253,254,7,36,255,106],"写意","飞鸟","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 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（1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,57,307,27,28,29,60,93,92,36,7,308,309,310,311,312,313],"仿古","房屋","山峦","杏花","春雨","路径","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],126,{"id":319,"slug":320,"title":321,"dynasty":52,"author":153,"museum":183,"description":322,"tags":323,"thumbUrl":328,"material":329,"size":330,"collection":96,"collections":331,"showCount":332,"zanCount":81,"manualWeight":11,"mainColor":68},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,91,24,324,186,29,325,28,187,188,106,32,37,308,93,92,34,118,326,327,254,60,7,36],"水墨画","文人画","近水","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg","未知","Xcm*Xcm",[],124,{"id":334,"slug":335,"title":336,"dynasty":18,"author":337,"museum":88,"description":338,"tags":339,"thumbUrl":340,"material":77,"size":96,"collection":43,"collections":341,"showCount":342,"zanCount":110,"manualWeight":11,"mainColor":47},219476,"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","李唐","此作以苍古之笔写林泉幽居，虬松蟠曲如铁，山石以斧劈皴挥就，棱角硬朗，带着雄浑峭拔的山野之气。林间水雾暗生，衬出空山清寂。静坐松下的高士，衣纹简括悠然，侍立童子低眉敛目，一动一静，将林下雅逸的襟怀铺陈开来。\n笔墨老辣洗练，以浓淡墨色晕染出山林层次，把文人寄情丘壑、放意林泉的隐逸高致，融在萧寒清旷的景致之中，尽显静谧淡远的林下风流。",[24,57,91,29,30,36,7,93,104,28,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[43],110,{"id":344,"slug":345,"title":346,"dynasty":18,"author":19,"museum":183,"description":347,"tags":348,"thumbUrl":350,"material":77,"size":96,"collection":258,"collections":351,"showCount":342,"zanCount":110,"manualWeight":11,"mainColor":47},218548,"han-ya-tu-ma-yuan-218548","寒鸦图","枯枝虬曲如铁线，从绢本深褐底色中挣出清劲骨力，枝桠间寒鸦三两：或敛翅栖于梢头，墨羽浓淡晕染出绒绒暖意；或振翅欲飞，翅尖的墨痕似带起微凉的风。远处坡岸简笔勾勒，留白处恍若覆雪，荒寒之意漫开。\n\n马远以边角之景造阔远之境，此图疏枝横斜间，寒鸦的灵动破开冬日沉寂。线条挺健如老松，墨韵含蓄似淡诗，将霜天清寂与生命鲜活揉作一处。展卷时，仿佛能嗅到冷冽空气里的松针香，又被寒鸦轻啼牵起一丝暖意——宋人笔墨的雅致与深情，尽在这方寸绢素中流转。",[23,91,24,57,58,26,28,254,7,36,104,29,349],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[258],{"id":353,"slug":354,"title":355,"dynasty":208,"author":356,"museum":183,"description":357,"tags":358,"thumbUrl":363,"material":96,"size":96,"collection":96,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":68},235422,"zi-teng-tu-zhou-wu-chang-shuo-235422","紫藤图轴","吴昌硕","《吴昌硕紫藤图轴》是清代画家吴昌硕创作的一幅金笺设色画。\n此图是195年吴昌硕62岁作，为花卉四条屏之末条。\n款：“乙巳（195年）八月八日，安吉吴俊卿拟十三峰草堂”。\n钤“吴俊之印”。\n绘藤叶凌空倚势，宛若龙翔凤舞。\n藤条盘绕回曲，缠石数重。\n作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。\n同时，此画画气不画形，追求书法中气贯神通的审美意趣。\n正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。\n这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。\n挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，条系好春光。\n岁岁花长好，飘（飘）满画堂。\n”的诗境。\n吴昌硕（1844-1927年），原名俊，字俊卿，后更字昌硕，号仓石、苦铁、缶庐等。\n浙江省安吉人，出身书香门第，祖父和父亲都是举人，均作过官。\n吴昌硕在诗文、书法、篆刻等方面也都有很高成就，著有诗文集、印谱，后人刊印的他的印集、画谱、书画作品集也很丰富，其诗书画印都成为世留宝贵的文化遗产。",[24,25,255,26,27,253,359,7,360,361,362],"篆书笔意","藤蔓","紫藤花","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e30e37665bc4c94708ab11ee2ac7b4.jpg",[],108,{"id":367,"slug":368,"title":369,"dynasty":18,"author":19,"museum":370,"description":371,"tags":372,"thumbUrl":373,"material":77,"size":374,"collection":258,"collections":375,"showCount":365,"zanCount":81,"manualWeight":11,"mainColor":161},218913,"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[23,91,24,57,26,27,29,269,104,7,36,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[258,43],{"id":377,"slug":378,"title":379,"dynasty":18,"author":380,"museum":183,"description":381,"tags":382,"thumbUrl":384,"material":77,"size":385,"collection":41,"collections":386,"showCount":387,"zanCount":11,"manualWeight":11,"mainColor":47},219006,"song-yin-xian-zuo-tu-li-song-219006","松荫闲坐图","李嵩","苍松覆荫，烟岚轻笼远山，黛色隐于薄雾间。近树虬枝盘曲，叶色深浓如墨，似将尘嚣隔绝。林间空地上，一人闲坐石畔，或凝思或望远，身旁童子悄然侍立，动静相衬，幽趣自生。\n\n笔墨简淡却意韵悠长：山石以斧劈皴略施渲染，显峻秀之态；树木枝干苍劲，线条灵动如舞。整幅画于静谧中藏生机，简远中见雅致，恰是宋人山水小品里“天人合一”的写照——将文人寄情林泉、超然物外的心绪，融于每一笔墨、每一处留白，读来如沐清风，心向往之。",[23,24,57,25,26,28,29,383,7,36,30,32],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[41],106,{"id":389,"slug":390,"title":391,"dynasty":18,"author":290,"museum":54,"description":392,"tags":393,"thumbUrl":395,"material":77,"size":96,"collection":43,"collections":396,"showCount":397,"zanCount":219,"manualWeight":11,"mainColor":47},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 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证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[24,57,26,213,28,29,36,7,34,93,104,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","纸本","87.4×65厘米",[],97,{"id":419,"slug":420,"title":421,"dynasty":208,"author":422,"museum":54,"description":423,"tags":424,"thumbUrl":425,"material":414,"size":426,"collection":43,"collections":427,"showCount":428,"zanCount":110,"manualWeight":11,"mainColor":68},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","恽寿平","《仿倪瓒古木丛篁图》仿倪瓒遗意，画古木平泉，丛篁积翠。技法上，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。构图简洁，画面丰富，为倪瓒作画特色。",[23,24,57,25,26,28,213,36,394,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[43,44],90,{"id":430,"slug":431,"title":432,"dynasty":52,"author":53,"museum":433,"description":434,"tags":435,"thumbUrl":437,"material":95,"size":438,"collection":43,"collections":439,"showCount":440,"zanCount":110,"manualWeight":11,"mainColor":68},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","圣路易斯艺术博物馆","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,24,57,25,26,28,29,37,7,36,93,32,436,106],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[43],82,{"id":442,"slug":443,"title":444,"dynasty":52,"author":153,"museum":445,"description":446,"tags":447,"thumbUrl":448,"material":62,"size":449,"collection":96,"collections":450,"showCount":451,"zanCount":110,"manualWeight":11,"mainColor":68},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,24,57,58,26,27,29,34,36,7,93,30,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg","纵28.6厘米，横33厘米",[],81,{"id":453,"slug":454,"title":455,"dynasty":52,"author":456,"museum":167,"description":457,"tags":458,"thumbUrl":463,"material":77,"size":464,"collection":64,"collections":465,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":47},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,91,57,25,26,253,27,29,30,92,254,93,7,36,459,128,104,460,360,461,462],"渔翁","芦苇","岩石","秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[64],80,{"id":468,"slug":469,"title":470,"dynasty":208,"author":471,"museum":472,"description":473,"tags":474,"thumbUrl":475,"material":62,"size":476,"collection":43,"collections":477,"showCount":478,"zanCount":11,"manualWeight":11,"mainColor":68},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬","髡残","大英博物馆","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。",[23,24,57,26,29,7,36,92,93,32,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg","纵31.8cm 横65cm",[43],75,{"id":480,"slug":481,"title":482,"dynasty":208,"author":483,"museum":183,"description":484,"tags":485,"thumbUrl":489,"material":96,"size":96,"collection":96,"collections":490,"showCount":491,"zanCount":11,"manualWeight":11,"mainColor":47},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","石涛","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,91,24,57,25,26,28,29,486,32,487,488,37,7,106],"古木","河流","亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],69,{"id":493,"slug":494,"title":495,"dynasty":208,"author":483,"museum":183,"description":496,"tags":497,"thumbUrl":498,"material":96,"size":96,"collection":96,"collections":499,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":68},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[91,24,57,26,27,29,28,188,106,36,7,34,60,93,92,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],68,{"id":502,"slug":503,"title":504,"dynasty":86,"author":196,"museum":20,"description":505,"tags":506,"thumbUrl":508,"material":39,"size":509,"collection":43,"collections":510,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":68},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,24,57,507,26,27,28,29,30,254,36,7,32,227],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[43,216],67,{"id":513,"slug":514,"title":515,"dynasty":86,"author":290,"museum":20,"description":516,"tags":517,"thumbUrl":518,"material":77,"size":519,"collection":43,"collections":520,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":47},218217,"qiu-xi-chui-diao-tu-yi-ming-218217","秋溪垂钓图","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[24,26,27,29,36,7,104,93,30,128,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[43],{"id":522,"slug":523,"title":524,"dynasty":18,"author":525,"museum":183,"description":526,"tags":527,"thumbUrl":528,"material":329,"size":330,"collection":96,"collections":529,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":47},288990,"gu-mu-guai-shi-tu-su-shi-288990","古木怪石图","苏轼","《枯木怪石图》又名《木石图》，是北宋苏轼任徐州太守时曾亲往萧县圣泉寺时所创作的一幅纸本墨笔画，该画作现存于中国。\n该画作画面内容很简单，是一株枯木状如鹿角，一具怪石形如蜗牛，怪石后伸出星点矮竹。用笔看似疏野草草，不求形似，其实行笔的轻重缓急，盘根错节，都流露出作者很深的毛笔功底。",[91,24,57,26,104,7,36,394,106,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0321701a92b7edb7afa959d7597be7e.jpg",[],66,{"id":532,"slug":533,"title":534,"dynasty":86,"author":535,"museum":20,"description":536,"tags":537,"thumbUrl":538,"material":95,"size":539,"collection":43,"collections":540,"showCount":541,"zanCount":11,"manualWeight":11,"mainColor":68},218305,"ping-lin-yuan-shan-tu-shen-xuan-218305","平林远山图","沈铉","此图为《张观等五家集绘卷》之一。画丛林远岫，平溪小桥。远山平缓，意境幽静冷寂。无款识，",[24,26,29,28,36,7,118,60,93,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc305432fdd2052683afa0a54e0506946.jpg","30x40.9cm",[43],65,{"id":543,"slug":544,"title":545,"dynasty":18,"author":546,"museum":183,"description":547,"tags":548,"thumbUrl":551,"material":329,"size":330,"collection":96,"collections":552,"showCount":553,"zanCount":110,"manualWeight":11,"mainColor":47},289610,"da-de-si-san-zhou-mu-xi-289610","大德寺三轴","牧溪","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[24,26,144,30,549,550,7],"猴","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe99cf51b9466552ce92335fe26fb02.jpg",[],63,{"id":555,"slug":556,"title":557,"dynasty":86,"author":558,"museum":167,"description":559,"tags":560,"thumbUrl":561,"material":146,"size":562,"collection":43,"collections":563,"showCount":553,"zanCount":110,"manualWeight":11,"mainColor":47},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[24,26,29,28,187,106,36,7,92,93,104,118,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[43],{"id":565,"slug":566,"title":567,"dynasty":18,"author":290,"museum":54,"description":568,"tags":569,"thumbUrl":573,"material":77,"size":96,"collection":43,"collections":574,"showCount":575,"zanCount":81,"manualWeight":11,"mainColor":47},218724,"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[23,24,91,59,26,27,36,7,104,570,571,572,327],"禽鸟","渚","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[43],62,{"id":577,"slug":578,"title":72,"dynasty":86,"author":558,"museum":20,"description":579,"tags":580,"thumbUrl":581,"material":146,"size":582,"collection":43,"collections":583,"showCount":584,"zanCount":11,"manualWeight":11,"mainColor":274},221790,"han-lin-tu-cao-zhi-bai-221790","曹知白(1272—1355), 字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[23,24,57,29,26,28,7,36,104,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[43,44],61,{"id":586,"slug":587,"title":588,"dynasty":18,"author":290,"museum":589,"description":590,"tags":591,"thumbUrl":593,"material":414,"size":594,"collection":41,"collections":595,"showCount":596,"zanCount":11,"manualWeight":11,"mainColor":47},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","美国纳尔逊阿特金斯艺术博物馆","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,57,186,26,28,29,37,461,436,592,172,572,104,33,34,254,7,36],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[41,43,44],60,{"id":598,"slug":599,"title":51,"dynasty":18,"author":600,"museum":601,"description":602,"tags":603,"thumbUrl":604,"material":77,"size":605,"collection":43,"collections":606,"showCount":596,"zanCount":11,"manualWeight":11,"mainColor":47},219076,"shan-shui-tu-li-gong-nian-219076","李公年","美国普林斯顿大学美术馆","画幅上端山峦在浮云中层层叠起，山脚隐于漠漠暮霭之中，寒溪曲折自远而近， 滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[24,26,28,25,29,309,7,36,104,34,487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[43],{"id":608,"slug":609,"title":610,"dynasty":52,"author":611,"museum":183,"description":612,"tags":613,"thumbUrl":616,"material":96,"size":96,"collection":96,"collections":617,"showCount":618,"zanCount":135,"manualWeight":11,"mainColor":68},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","孙枝","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 一一陈淳 牡丹湖石图轴 一二王宠 春山图 一三陆治 溪山访友图轴 一四陆治 唐人诗意山水册 一五王问 雪景山水轴 一六王问 赏月图金面扇页 一七文彭、文嘉草书卢仝饮茶诗、为壶梁作山水卷 一八文嘉 垂虹亭图卷 一九文伯仁 为怀谷作山水轴 二○陈焕 重岩飞瀑图幅 二一文伯仁 石湖草堂图 二二钱谷 临流独坐图扇页 二三钱谷 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一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 一六五沈曾植行书七绝",[23,24,57,91,25,27,59,28,29,30,105,34,7,36,614,615,172,461,33],"松","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],59,{"id":620,"slug":621,"title":622,"dynasty":86,"author":115,"museum":623,"description":624,"tags":625,"thumbUrl":627,"material":414,"size":628,"collection":44,"collections":629,"showCount":618,"zanCount":11,"manualWeight":11,"mainColor":68},220805,"yun-shi-qiao-ke-tu-zhou-ni-zan-220805","筠石乔柯图轴","美国克利夫兰艺术博物馆","此画用笔变中锋为侧锋，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，简中寓繁，小中见大，外落寞而内蕴激情。树杆上挂满了细繁的藤蔓垂条，图中的篁竹属于倪瓒墨竹中叶尖向上的新篁画法，颇见功力。画面一如倪瓒一贯呈现的风格：构图简洁，干笔皴檫，意境清远萧疏。",[23,24,25,26,28,394,626,228,7,106],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4ba73df5db160da5171569d0a459b0.jpg","横67.3厘米，横36.8厘米",[44,630],"竹石精选",{"id":632,"slug":633,"title":634,"dynasty":52,"author":290,"museum":472,"description":635,"tags":636,"thumbUrl":640,"material":77,"size":641,"collection":64,"collections":642,"showCount":643,"zanCount":11,"manualWeight":11,"mainColor":47},218516,"fang-li-tang-cai-wei-tu-yi-ming-218516","仿李唐采薇图","这一页是模仿李唐画的伯夷和叔齐在首阳山上爬行的故事，以浙派画家的风格画出服装图案，并加上项元汴的募捐图案。",[24,27,213,28,30,7,36,32,637,638,29,639],"器","衣帽","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48fcd4411154c6a9a5705445bf616bd6.jpg","30.7x28.6",[64],58,{"id":645,"slug":646,"title":647,"dynasty":86,"author":290,"museum":183,"description":648,"tags":649,"thumbUrl":651,"material":96,"size":96,"collection":96,"collections":652,"showCount":653,"zanCount":11,"manualWeight":11,"mainColor":47},232829,"mei-hua-shuang-que-tu-li-zhou-yi-ming-232829","梅花双雀图立轴","此作以虬曲老梅为骨，苍劲枝干皴染细致，苔点错落尽显嶙峋古意。枝头梅朵冰洁柔粉，与旁侧挺秀翠竹相映，冷枝翠叶晕开清隽春息。几只山雀或栖止梳羽，或振翅穿林，灵动鲜活的身姿，将静谧冬景揉进灵动生气。\n\n笔墨工写兼具，勾勒禽鸟身形写实精细，绘写梅竹则苍润朴拙，淡设色与古绢底色相融晕染，尽显清淡雅致。将冬日花木的坚贞与初醒的生机相融，藏着元代花鸟特有的疏淡文人意趣，简淡间晕开悠长雅致。",[23,24,25,27,59,269,394,650,254,255,7,36,106],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6397c4387e860162f3a156b850ce1148.jpg",[],56,{"id":655,"slug":656,"title":657,"dynasty":52,"author":153,"museum":54,"description":658,"tags":659,"thumbUrl":662,"material":95,"size":663,"collection":44,"collections":664,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":47},291002,"gu-song-tu-shen-zhou-291002","古松图","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。",[91,24,57,26,660,7,661,187,106],"古松","松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f287011696dffb4e0f719e2224fed22.jpg","73.9x51.2",[44],55,{"id":667,"slug":668,"title":669,"dynasty":52,"author":670,"museum":154,"description":671,"tags":672,"thumbUrl":674,"material":77,"size":96,"collection":96,"collections":675,"showCount":665,"zanCount":110,"manualWeight":11,"mainColor":68},218022,"za-hua-ce-8-chen-hong-shou-218022","杂画册-8","陈洪绶","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[91,24,57,58,59,27,255,269,673,7,36,106],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3872c863e7a4d020187cfd8dc2c8c712.jpg",[],{"id":677,"slug":678,"title":679,"dynasty":18,"author":239,"museum":183,"description":680,"tags":681,"thumbUrl":683,"material":414,"size":684,"collection":258,"collections":685,"showCount":686,"zanCount":11,"manualWeight":11,"mainColor":47},220044,"ba-ba-niao-tu-guo-xi-220044","叭叭鸟图","画上并没有牧溪的落款和任何题字，只有一方“牧溪”印章。这种小尺幅的画，可能是挂在僧人的禅房中作为观想用的。牧溪的画深得日本僧人喜爱，流传到日本之后，依然会悬挂在禅寺或私家园林最具礼仪性的空间—茶室之中。",[24,91,57,26,59,255,254,7,682],"孤枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0721f1062efb8a06417db50da227369e.jpg","纵78.5厘米，横39厘米",[258],54,{"id":688,"slug":689,"title":690,"dynasty":18,"author":691,"museum":692,"description":693,"tags":694,"thumbUrl":696,"material":77,"size":697,"collection":43,"collections":698,"showCount":686,"zanCount":110,"manualWeight":11,"mainColor":68},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","李山","耶鲁大学艺术博物馆","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,24,57,29,7,36,28,27,695,32,37,436,93],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[43],{"id":700,"slug":701,"title":702,"dynasty":86,"author":703,"museum":692,"description":704,"tags":705,"thumbUrl":706,"material":77,"size":707,"collection":43,"collections":708,"showCount":686,"zanCount":11,"manualWeight":11,"mainColor":161},217926,"gao-shi-tu-gao-ke-gong-217926","高士图","高克恭","高士图是中国元朝时期的著名画家高克恭的代表作之一。这幅画描绘了一位儒家士人的形象，体现了高克恭对传统文化的尊敬。\n\n高士图的画风典雅、精致，采用了传统的山水画的手法，但又有别于传统的山水画，展现出高克恭独特的艺术风格。在这幅画中，高士端坐在池塘边，手托着下巴，神态沉静、自若，表现出了儒家士人的谦逊、淡泊的态度。\n\n高士图被认为是高克恭的代表作之一，因为它体现了高克恭对中国传统文化的尊敬，以及他对儒家哲学的理解。这幅画也被认为是元朝时期艺术发展的里程碑，因为它展现了艺术家对传统文化的传承与创新的完美结合。",[24,57,29,26,27,36,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f7a2c46e365347d66d4983ee269969.jpg","179.7x101.6cm",[43],{"id":710,"slug":711,"title":712,"dynasty":86,"author":713,"museum":54,"description":714,"tags":715,"thumbUrl":716,"material":174,"size":717,"collection":43,"collections":718,"showCount":719,"zanCount":11,"manualWeight":11,"mainColor":47},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","朱德润","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[23,24,26,28,25,29,383,92,30,93,36,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[43,44],53,{"id":721,"slug":722,"title":723,"dynasty":52,"author":724,"museum":725,"description":726,"tags":727,"thumbUrl":729,"material":62,"size":730,"collection":43,"collections":731,"showCount":719,"zanCount":110,"manualWeight":11,"mainColor":68},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","美国弗利尔美术馆","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,57,25,26,28,29,36,7,60,93,105,30,32,37,106,728],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[43],{"id":733,"slug":734,"title":735,"dynasty":18,"author":337,"museum":183,"description":736,"tags":737,"thumbUrl":739,"material":96,"size":96,"collection":96,"collections":740,"showCount":741,"zanCount":110,"manualWeight":11,"mainColor":68},227969,"guan-mei-du-shu-tu-li-tang-227969","观梅读书图","虬曲老梅横斜而出，枝桠如屈铁般苍劲疏朗，残蕾轻缀梢头，古藤垂曳更添荒寒之致。右下角淡墨晕染出远山坡岸，幽林掩映间，坡下士人凭坐观梅静读，全然融入冷寂清旷的氛围中。\n\n笔法简劲老辣，以干湿浓淡的墨色晕染出空濛早春的清冷氛围感，留白铺陈出幽远意境。将文人耽于林泉、寄情梅下的雅趣藏于萧寒景致里，把观梅闲读的幽居况味和清雅荒寒的意境融为一体，尽显小品极简含蓄的意趣，是文人心中理想栖居图景的缩影。",[23,24,91,507,59,26,28,29,269,36,7,104,30,738],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8f248e33ae44c43fac3cc6f2f0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30",[41,43,44],49,{"id":794,"slug":795,"title":796,"dynasty":86,"author":797,"museum":54,"description":798,"tags":799,"thumbUrl":800,"material":146,"size":801,"collection":44,"collections":802,"showCount":792,"zanCount":110,"manualWeight":11,"mainColor":47},220242,"gu-mu-fei-quan-tu-zhang-shun-zi-220242","古木飞泉图","张舜咨","该幅作于1347年（至正七年），描绘几株老树挺立在土坡石傍，远山、飞泉之外别无他物。空山溪谷寂静幽深，只有潺潺的泉声不断传来。画树枝，好像写书法似地一笔一笔写成。皴法的用笔扭转交错，有活泼灵动的感觉。",[23,24,91,57,25,27,29,36,7,93,104,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2110f7088b0994cacaafa316c890aa.jpg","146.3x89.6公分",[44],{"id":804,"slug":805,"title":806,"dynasty":52,"author":456,"museum":54,"description":807,"tags":808,"thumbUrl":815,"material":77,"size":816,"collection":64,"collections":817,"showCount":792,"zanCount":110,"manualWeight":11,"mainColor":47},219510,"bei-hai-zhen-ren-xiang-zhou-wu-wei-219510","北海真人像轴","画中仙者束发袒襟，神态清和古雅，安坐灵龟背上行于浅渚苇荡间。他手持枯藤，灵蛇盘绕其上，衣袂飘然随微风舒展，尽显出尘之气。\n\n灵龟昂首探行，笔墨简练却将其沉健之态勾勒分明，苇草轻淡晕染衬出清虚氛围。整幅画作以粗笔写意，衣纹顿挫简练，粗率之中见法度，将真人餐霞饮风、伴云游世的逍遥仙韵尽显，把道家超然物外的隐逸意趣融于尺幅间，静穆里暗藏灵动仙气。",[24,25,30,26,253,809,810,811,812,7,813,814],"道家","隐逸","灵龟","灵蛇","苇草","仙气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b042adf830649bd30427a7e5845d3ff.jpg","158.4x93.2",[64],{"id":819,"slug":820,"title":821,"dynasty":208,"author":822,"museum":183,"description":823,"tags":824,"thumbUrl":825,"material":96,"size":96,"collection":96,"collections":826,"showCount":827,"zanCount":11,"manualWeight":11,"mainColor":68},235620,"shan-shui-zhou-zhu-da-235620","山水轴","朱耷","此作用淡墨干笔写层叠峰峦，删繁就简，以极简的勾勒皴擦塑造奇崛冷峻的山石体态，不着浓艳，尽是荒寒萧索。画面留白肆意，纵长构图牵引视线游走于丘壑之间，山居错落、枯木寒松点缀其间，愈发衬出山水空寂冷逸。笔墨疏淡却意韵悠长，将沉郁的遗世心绪尽数融于林泉丘壑，冷寂禅意漫溢纸面，尽显孤高疏淡的品格风骨。",[24,57,25,26,28,29,104,36,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],47,{"id":829,"slug":830,"title":831,"dynasty":18,"author":546,"museum":183,"description":832,"tags":833,"thumbUrl":835,"material":96,"size":96,"collection":96,"collections":836,"showCount":827,"zanCount":11,"manualWeight":11,"mainColor":47},227714,"wu-niao-tu-mu-xi-227714","乌鸟图","牧溪的作品在日本的地位非常高，很多画友们形容他在国内的名气不怎么大。那是因为他的大部分作品流传到了日本，所以他的绘画在日本的艺术界堪称神作。\n\n好的作品流传到了国外，在国内与众多古代画家相比自然就不占优势了，所以牧溪在国内感觉不怎么受待见。\n但真正研究古画的人，看过了牧溪的作品之后形容他的艺术绘画成就超过了八大山人，八大山人朱耷的作品甚至有可能是模仿了牧溪。\n\n南宋牧溪的作品有多牛？下面我们一起来欣赏一下这一张被美国克里夫兰艺术博物馆珍藏着的《乌鸟》图。\n这一张作品的绘画还是一如既往的牧溪的绘画风格，简单而且不多用笔，画法也是十分的简单。但作品经过了几百年之后，大家看到了牧溪的作品真的是称赞不绝于口。\n\n南宋牧溪的这幅神作：画鸟不画其首，笔墨又飒又寂寥！\n先不评画，很多人看到了这一张作品之后，看到了画中那一只“无头”乌鸟之后留言：为构图真的是绝了，牧溪当时是怎么画出来的，很想知道他在什么样的环境之下创作出来的。\n\n这笔法，真的是又飒又寂寥！有些作品真的是凭意境取胜，别不服古人，现代人真的很难画出来。\n\n不知道大家看这一张牧溪的小鸟图感觉怎么样，真可以说是国画艺术的天花板了吧。画面中乌鸟不见其首，很明显是躲在了自己的翅膀之下，它懒得起飞，整个意境感很强。\n\n本来作品就够寂寥了，再加上作品的右下边有大面积的留白，画面更显得空寂了。这构图，随笔点墨而成，意思简单，不费妆缀。\n\n绘画的细节可以说是质朴到了极点，不该多的东西一样也不多，该少的东西也不会偷懒不画。简单的笔墨，但牧溪的作品给人一种素，空寂，清高雅致的感觉，相信文人墨客都喜欢这一类的作品吧。",[24,57,26,253,255,254,7,834],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa3546d9a7f85189bc229558c77b1b.jpg",[],{"id":838,"slug":839,"title":840,"dynasty":52,"author":279,"museum":54,"description":841,"tags":842,"thumbUrl":844,"material":789,"size":283,"collection":43,"collections":845,"showCount":827,"zanCount":11,"manualWeight":11,"mainColor":68},220949,"shuang-lin-qiu-si-zhou-dong-qi-chang-220949","霜林秋思轴","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。\n中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。\n此画构图紧凑。\n画法上用淡笔勾出轮廓，作横笔米点皴；山石用润笔，连皴带擦，远处树不分叶，近树横点，画面突出主峰，渲染江南秀丽风光。\n从总体来看，此画笔墨清雅温和，秀润恬淡，能代表他的一般风格和思想情趣：董氏笔墨秀朗，此图可视为代表作。",[23,91,24,57,25,28,27,188,187,106,29,36,7,843,34,93,32],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd267582e0fb38cd6c5d23cf8ca4e0a.jpg",[43,216],{"id":847,"slug":848,"title":849,"dynasty":208,"author":471,"museum":167,"description":850,"tags":851,"thumbUrl":852,"material":414,"size":96,"collection":43,"collections":853,"showCount":854,"zanCount":110,"manualWeight":11,"mainColor":68},237413,"shan-shui-tu-zhou-kun-can-237413","山水图轴","髡 残（1612-1692），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。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,26,28,25,29,36,7,30,33,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[43],46,{"id":856,"slug":857,"title":858,"dynasty":52,"author":859,"museum":88,"description":860,"tags":861,"thumbUrl":862,"material":77,"size":863,"collection":258,"collections":864,"showCount":854,"zanCount":110,"manualWeight":11,"mainColor":47},219314,"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","边景昭","寒石之上，锦鸡敛翅静立，翎羽如锦绣裁就，红腹似霞晕染，连绒羽的细绒都清晰可见，仿佛能触到那柔软的质感。旁侧枯枝斜逸，梅蕊初绽，素白的花与苍劲的枝桠相映，冷寂中透出雅致。沉郁的底色如古砚磨出的墨晕，将禽鸟的鲜活托得愈发分明，梅香似随微风漫开，清寒里藏着脉脉生机。笔触细腻入微却不板滞，色彩浓淡相宜，既有工笔的精致写实，又含写意的空灵意境，于冬日的静谧中，绘就一份鲜活与雅致，似能听见锦鸡轻啄梅瓣的微响，冷冽中溢出温情。",[24,57,255,59,27,269,673,104,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[258],{"id":866,"slug":867,"title":51,"dynasty":86,"author":868,"museum":54,"description":869,"tags":870,"thumbUrl":872,"material":95,"size":873,"collection":43,"collections":874,"showCount":854,"zanCount":11,"manualWeight":11,"mainColor":47},218826,"shan-shui-tu-fang-cong-yi-218826","方从义","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[23,24,57,26,28,29,32,37,7,36,871],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[43],{"id":876,"slug":877,"title":878,"dynasty":18,"author":879,"museum":880,"description":881,"tags":882,"thumbUrl":883,"material":77,"size":884,"collection":258,"collections":885,"showCount":854,"zanCount":110,"manualWeight":11,"mainColor":47},216666,"ju-yuan-tu-yi-yuan-ji-216666","聚猿图","易元吉","日本大阪市立美术馆","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[23,91,24,57,186,59,28,26,549,7,36,32,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg","纵41.3厘米，横146厘米",[258],{"id":887,"slug":888,"title":889,"dynasty":18,"author":546,"museum":183,"description":890,"tags":891,"thumbUrl":893,"material":329,"size":330,"collection":96,"collections":894,"showCount":895,"zanCount":110,"manualWeight":11,"mainColor":47},287573,"song-yuan-tu-mu-xi-287573","松猿图","此图绘两只黑猿踞于松干上，一成年猿将一幼猿拢于怀中，形象十分生动。画家用浓墨乾笔绘猿身皮毛，很真实地表现出蓬松的质感，墨猿刻画得较为工致，可见法常是有写生基础的。",[91,24,57,26,549,892,36,7],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F785fa0ecef9736a94643b20966a7cfc7.jpg",[],45,{"id":897,"slug":898,"title":899,"dynasty":18,"author":900,"museum":183,"description":901,"tags":902,"thumbUrl":905,"material":96,"size":96,"collection":96,"collections":906,"showCount":895,"zanCount":11,"manualWeight":11,"mainColor":47},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,91,57,59,26,27,549,903,7,104,904,106],"昆虫","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":908,"slug":909,"title":910,"dynasty":18,"author":911,"museum":183,"description":912,"tags":913,"thumbUrl":914,"material":789,"size":915,"collection":41,"collections":916,"showCount":895,"zanCount":11,"manualWeight":11,"mainColor":47},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","赵令穰","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[23,24,57,29,27,28,36,254,93,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[41],{"id":918,"slug":919,"title":920,"dynasty":86,"author":290,"museum":54,"description":921,"tags":922,"thumbUrl":924,"material":77,"size":925,"collection":43,"collections":926,"showCount":895,"zanCount":11,"manualWeight":11,"mainColor":47},218164,"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[23,24,324,186,28,27,29,7,36,34,118,93,327,923,92,37,461],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[43],{"id":928,"slug":929,"title":930,"dynasty":18,"author":931,"museum":54,"description":932,"tags":933,"thumbUrl":935,"material":936,"size":937,"collection":41,"collections":938,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":47},221613,"guan-pu-tu-zhou-liang-kai-221613","观瀑图轴","梁楷","图绘飞瀑从山涧中直泻而下，与山脚乱石激起层层浪花，瀑前枯树对立，竹石苔茵，瀑下平坦处一人捻髭立眺，三童子洗砚抱琴烹茶。",[23,91,24,57,25,26,28,30,7,36,934,32,37],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","白纸本","135.9x64.1厘米",[41,43,216],44,{"id":941,"slug":942,"title":943,"dynasty":86,"author":944,"museum":20,"description":945,"tags":946,"thumbUrl":951,"material":952,"size":953,"collection":96,"collections":954,"showCount":955,"zanCount":110,"manualWeight":11,"mainColor":47},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[24,25,26,27,29,28,32,37,947,934,948,30,105,93,7,36,949,950],"积雪","亭台","寒林","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","纸本设色","97.4×41.2cm",[],43,{"id":957,"slug":958,"title":959,"dynasty":52,"author":960,"museum":472,"description":961,"tags":962,"thumbUrl":970,"material":77,"size":971,"collection":64,"collections":972,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":47},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,57,26,28,27,29,93,92,963,30,36,129,964,7,965,966,37,967,968,969],"渔父","小船","溪谷","岸石","舟楫","渔人","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[64,43],41,{"id":975,"slug":976,"title":977,"dynasty":18,"author":931,"museum":978,"description":979,"tags":980,"thumbUrl":983,"material":77,"size":984,"collection":258,"collections":985,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":47},219075,"han-tang-tu-liang-kai-219075","寒塘图","哈佛艺术博物馆","寒塘漾着薄暮的影，枯树的枝桠如写尽沧桑的笔锋，斜斜划过空濛的背景。几只水鸟依偎在岸石边，绒羽的留白透着怯怯的暖，与周遭的冷寂形成温柔对照。淡墨晕开的水面，似有若无的波纹，把清寒气息漫向画外。\n\n减笔不简意，枯槁里藏生机，空疏中含情味——萧瑟里是生命在冷意中的坚守，空濛间是天地幽远的淡然。寥寥数笔，将冬日寒塘的清寂与微芒揉合，每一处墨色浓淡、线条曲直，都藏着对自然的深刻观照：冷到极致时，反而见得生命本真的模样。这方圆镜里，是画，更是心与天地的对话。",[24,26,981,29,7,36,254,104,982],"减笔","寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3589e99e2899dbb7d805d459868c98e0.jpg","24.6x25.7cm",[258],{"id":987,"slug":988,"title":989,"dynasty":18,"author":990,"museum":54,"description":991,"tags":992,"thumbUrl":993,"material":95,"size":96,"collection":44,"collections":994,"showCount":973,"zanCount":110,"manualWeight":11,"mainColor":68},218685,"gu-mu-liu-quan-tu-ma-he-zhi-218685","古木流泉图","马和之","画面构景极简，古木枝干如老龙盘空，墨色浓淡晕染出苍劲生机。流泉隐于林麓，清越似穿疏枝而来。右侧空濛处轻羽掠过，留白铺展天地空阔，暗合宋画“虚处藏神”之妙。用笔兼工带写，线条含篆籀圆劲与行书灵动，皴擦间古木肌理毕现。留白与实景相衬，营造清寂悠远的林下之趣。简淡中见深致，尽显宋画文人意趣，观者仿佛闻泉声穿林，听鸟啼落梢，沉浸于那份与世隔绝的静谧禅意里。",[23,24,57,26,58,93,7,36,104,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceaf0fdf52528f3e4d2f5c2edbd8b9b.jpg",[44],{"id":996,"slug":997,"title":998,"dynasty":52,"author":290,"museum":183,"description":999,"tags":1000,"thumbUrl":1001,"material":329,"size":330,"collection":96,"collections":1002,"showCount":1003,"zanCount":11,"manualWeight":11,"mainColor":47},288159,"ku-teng-lao-shu-tu-li-zhou-yi-ming-288159","枯藤老树图立轴","此作用笔苍劲老辣，以枯墨皴擦出古松嶙峋老干，虬曲枝桠如铁戟森然，松针攒簇细密，尽显饱经风霜的古拙意气。冷月高悬，淡墨晕染出空濛清辉，将夜色的荒寒铺陈开来。坡石旁丛竹挺秀疏朗，瘦劲枝叶与苍松相映，刚柔互济。全画以水墨写就，浓淡相宜，淡墨晕染出空寂夜色，浓墨勾勒筋骨，萧疏静谧间，尽显林下幽居的孤高意趣，暗合寄情林泉、不与俗伍的文人心境。",[23,24,25,26,7,36,394,104,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07026ed6aab10adbe73f7f746e3383.jpg",[],40,{"id":1005,"slug":1006,"title":1007,"dynasty":208,"author":422,"museum":183,"description":1008,"tags":1009,"thumbUrl":1011,"material":414,"size":96,"collection":43,"collections":1012,"showCount":1013,"zanCount":11,"manualWeight":11,"mainColor":47},221004,"du-shu-le-zhi-tu-yun-shou-ping-221004","读书乐志图","自从恽南田以高逸的山书画和寓意的没骨花卉写生画问世后，追随者众多。常州画派就是在这种审美风尚的趋引下，自然形成的的。",[23,507,26,28,29,7,36,1010,104,106],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2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。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,507,24,91,57,27,255,1055,1056,60,7,36,106],"桃花","鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77bf6fdf6141f8c8ffcd4f1175cbe18f.jpg",[],35,{"id":1061,"slug":1062,"title":1063,"dynasty":86,"author":1064,"museum":20,"description":1065,"tags":1066,"thumbUrl":1068,"material":414,"size":1069,"collection":96,"collections":1070,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":47},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","姚廷美","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[24,26,186,29,7,36,92,129,106,28,1067,615,34],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],34,{"id":1073,"slug":1074,"title":1075,"dynasty":18,"author":1076,"museum":183,"description":1077,"tags":1078,"thumbUrl":1079,"material":96,"size":96,"collection":96,"collections":1080,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":47},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","范宽","范宽（950-1032）宋代杰出画家。字仲立，一说中立。华原（今陕西耀县）人。北宋山水画家，生活于北宋前期，名列北宋山水画三大名家之一。因为他性情宽厚，不拘成礼，时人呼之为“宽”，遂以范宽自名。据《宣和画谱》记载，他风仪峭古，进止疏野，性嗜酒，落魄不拘世故。",[23,24,57,29,28,27,36,7,30,105,93,172,626,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":1082,"slug":1083,"title":1084,"dynasty":208,"author":471,"museum":183,"description":1085,"tags":1086,"thumbUrl":1089,"material":329,"size":330,"collection":96,"collections":1090,"showCount":1091,"zanCount":11,"manualWeight":11,"mainColor":68},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","秋山幽静图轴","髡[kūn]残（1612-1692），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。",[91,24,25,26,29,60,93,92,31,34,7,36,1087,28,106,187,327,1088],"幽静","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],33,{"id":1093,"slug":1094,"title":1095,"dynasty":86,"author":1096,"museum":183,"description":1097,"tags":1098,"thumbUrl":1099,"material":329,"size":330,"collection":96,"collections":1100,"showCount":1091,"zanCount":11,"manualWeight":11,"mainColor":68},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）","赵孟頫","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,91,24,25,27,29,30,7,36,92,93,104,129,187,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":1102,"slug":1103,"title":1104,"dynasty":208,"author":1105,"museum":20,"description":1106,"tags":1107,"thumbUrl":1108,"material":96,"size":96,"collection":43,"collections":1109,"showCount":1091,"zanCount":11,"manualWeight":11,"mainColor":68},233222,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","王概","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。",[24,57,58,26,28,29,7,36,60,93,30,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[43],{"id":1111,"slug":1112,"title":1113,"dynasty":86,"author":290,"museum":20,"description":1114,"tags":1115,"thumbUrl":1116,"material":231,"size":1117,"collection":96,"collections":1118,"showCount":1119,"zanCount":110,"manualWeight":11,"mainColor":47},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,57,25,29,213,28,26,27,309,37,7,36,461,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],32,{"id":1121,"slug":1122,"title":1123,"dynasty":52,"author":290,"museum":183,"description":1124,"tags":1125,"thumbUrl":1127,"material":146,"size":1128,"collection":64,"collections":1129,"showCount":1119,"zanCount":11,"manualWeight":11,"mainColor":47},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,91,24,57,25,143,26,27,28,30,7,36,29,950,93,1126],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[64],{"id":1131,"slug":1132,"title":1133,"dynasty":52,"author":1134,"museum":183,"description":1135,"tags":1136,"thumbUrl":1139,"material":96,"size":96,"collection":96,"collections":1140,"showCount":1141,"zanCount":135,"manualWeight":11,"mainColor":47},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,24,27,29,28,172,228,36,7,572,92,461,1137,695,1067,1138,308],"村舍","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],31,{"id":1143,"slug":1144,"title":1145,"dynasty":52,"author":456,"museum":472,"description":1146,"tags":1147,"thumbUrl":1148,"material":146,"size":1149,"collection":64,"collections":1150,"showCount":1141,"zanCount":11,"manualWeight":11,"mainColor":47},219503,"qiao-fu-tu-wu-wei-219503","樵夫图","此作以粗劲写意之笔，绘就山野樵归之景。左上枯木虬枝盘错，水墨酣畅淋漓，苍莽老辣的笔墨勾勒出林间荒寂之态。负薪樵夫居于画面正中，衣纹以顿挫折芦描写就，寥寥数笔便将樵夫行于山径间的疲惫憨朴尽数烘托，肩头薪柴写实生动，尽显劳作的质朴厚重。淡墨晕染远景空茫，虚实相映间衬出郊野空旷萧疏，整体笔墨健拔爽利，将山野市井的日常意趣融于山水，把俗世生活的鲜活烟火气晕染在荒寂山野之中，简括传神又意韵悠长。",[23,24,91,25,26,253,30,37,32,7,36,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f737201526754b27266ed5a65515adf.jpg","纵164.8横95.0厘米",[64],{"id":1152,"slug":1153,"title":391,"dynasty":208,"author":1154,"museum":1155,"description":1156,"tags":1157,"thumbUrl":1158,"material":1159,"size":1160,"collection":258,"collections":1161,"showCount":1162,"zanCount":11,"manualWeight":11,"mainColor":47},223304,"gu-mu-zhu-shi-tu-luo-mu-223304","罗牧","旅顺博物馆","图绘岸边一隅古木树叶凋零，枝杆苍劲；石块耸立，粗笔勾勒其轮廓，中部留白；四周翠竹环绕，繁茂苍翠，生机勃勃。",[23,24,26,25,36,7,394,104,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纸本水墨","纵127cm，横54cm",[258,44],30,{"id":1164,"slug":1165,"title":1166,"dynasty":52,"author":1167,"museum":54,"description":1168,"tags":1169,"thumbUrl":1171,"material":1172,"size":1173,"collection":43,"collections":1174,"showCount":1162,"zanCount":11,"manualWeight":11,"mainColor":47},222462,"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[23,24,27,28,29,30,7,36,461,93,1010,1170,25],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","绢本浅设色","33x53",[43,216],{"id":1176,"slug":1177,"title":51,"dynasty":18,"author":1178,"museum":623,"description":1179,"tags":1180,"thumbUrl":1183,"material":1184,"size":1185,"collection":41,"collections":1186,"showCount":1162,"zanCount":11,"manualWeight":11,"mainColor":68},221584,"shan-shui-tu-li-an-zhong-221584","李安忠","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,24,91,57,29,26,28,36,7,37,1181,1182],"孤树","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","绢本水墨","33x34",[41,43,44],{"id":1188,"slug":1189,"title":1190,"dynasty":86,"author":290,"museum":20,"description":1191,"tags":1192,"thumbUrl":1193,"material":77,"size":1194,"collection":43,"collections":1195,"showCount":1162,"zanCount":11,"manualWeight":11,"mainColor":47},218213,"shui-ge-dui-hua-tu-yi-ming-218213","水阁对话图","水阁对话图是一种流行于元朝时期的文学体裁，通常用来记录人们在水上建筑物（如水上别墅、水上庭院或水上茶室）中的对话。这种体裁的名字来源于“水阁”这个词，指的是在水上建造的别墅或其他建筑物。\n\n元朝时期，由于水上建筑物在当时是很流行的，因此水阁对话图也非常受欢迎。这种体裁通常记录了人们在水上建筑物中的日常对话，以及他们对当时社会、政治、文化等诸多话题的看法。",[24,507,26,29,30,31,36,7,118,104,93,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c5b832746b1a1e3f0abb4065f54693.jpg","25.8x23.7cm",[43],{"id":1197,"slug":1198,"title":1199,"dynasty":86,"author":1200,"museum":183,"description":1201,"tags":1202,"thumbUrl":1203,"material":329,"size":330,"collection":96,"collections":1204,"showCount":1205,"zanCount":110,"manualWeight":11,"mainColor":47},288337,"xie-qin-fang-you-tu-luo-zhi-chuan-288337","携琴访友图","罗稚川","此幅无印款，专家学者考定为元代画家罗稚川所作，全幅用郭河阳画法，写寒林清泉，溪山迷远，得宋人平远寒林之趣，而用笔更趋书写性，已是元人风貌。",[23,24,91,25,26,29,36,7,60,93,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0e4db9c999297de31c0b81240f2c96.jpg",[],29,{"id":1207,"slug":1208,"title":1209,"dynasty":86,"author":1200,"museum":183,"description":1210,"tags":1211,"thumbUrl":1213,"material":329,"size":330,"collection":96,"collections":1214,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":47},287595,"xue-jiang-tu-luo-zhi-chuan-287595","雪江图","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。",[23,24,29,26,1043,254,728,118,1212,36,7],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],{"id":1216,"slug":1217,"title":1218,"dynasty":86,"author":1096,"museum":183,"description":1097,"tags":1219,"thumbUrl":1222,"material":329,"size":330,"collection":96,"collections":1223,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":47},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像",[24,91,57,25,27,30,144,1220,1221,660,7,32],"佛教","达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],{"id":1225,"slug":1226,"title":1227,"dynasty":18,"author":1228,"museum":183,"description":1229,"tags":1230,"thumbUrl":1232,"material":96,"size":96,"collection":96,"collections":1233,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":47},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","龚吉","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[23,91,24,57,170,59,27,1231,892,7,106],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":1235,"slug":1236,"title":821,"dynasty":208,"author":1237,"museum":183,"description":1238,"tags":1239,"thumbUrl":1240,"material":96,"size":96,"collection":43,"collections":1241,"showCount":1242,"zanCount":11,"manualWeight":11,"mainColor":47},237467,"shan-shui-zhou-hua-yan-237467","华嵒","华岩（1682～1756），一写作华嵒，福建上杭白砂里人。字德嵩，更字秋岳，号新罗山人、白沙道人等，老年自喻“飘篷者”。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。",[24,27,28,29,37,32,93,34,30,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93002429d8052a89366938df98869cff.jpg",[43,44],28,{"id":1244,"slug":1245,"title":1246,"dynasty":52,"author":1247,"museum":20,"description":1248,"tags":1249,"thumbUrl":1265,"material":1266,"size":1267,"collection":1268,"collections":1269,"showCount":1242,"zanCount":11,"manualWeight":11,"mainColor":68},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","唐寅","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,1170,187,188,186,26,106,294,1250,29,92,60,93,34,254,7,36,269,1251,394,1252,1253,1254,1055,1255,1256,1257,1258,615,227,1259,1260,1261,1262,1263,1264],"夕阳","兰","菊","荷","牡丹","水仙","鱼","风","雨","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米","书法精选",[1268],{"id":1271,"slug":1272,"title":1273,"dynasty":52,"author":1274,"museum":54,"description":1275,"tags":1276,"thumbUrl":1277,"material":77,"size":96,"collection":43,"collections":1278,"showCount":1242,"zanCount":11,"manualWeight":11,"mainColor":68},215034,"han-lin-gao-yi-tu-shen-shi-chong-215034","寒林高逸图","沈士充","寒林高逸图是明朝沈士充所绘的一幅著名图画。它描绘了一片寒冷的林中，一群动物在寻找温暖。图中，可以看到一头鹿、一只老鹰、一只海狮和一只熊，他们都非常冷，因此他们决定联合起来，燃烧起火来取暖。最后，大家一起坐在火边取暖，显得非常愉快。\n\n寒林高逸图被认为是沈士充最著名的作品之一，它描绘了动物之间的友好相处和合作的主题。这幅图画同时也被认为是对人类社会的一种警示，提醒人们应该像这些动物一样，在困难时期相互合作，共同度过难关。",[24,57,91,507,29,30,7,36,104,28,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bb9e640476fbb36251ae27f22cda34.jpg",[43],{"id":1280,"slug":1281,"title":1282,"dynasty":208,"author":422,"museum":20,"description":1283,"tags":1284,"thumbUrl":1288,"material":1289,"size":1290,"collection":96,"collections":1291,"showCount":1292,"zanCount":11,"manualWeight":11,"mainColor":68},233790,"gao-yan-jian-pu-tu-zhou-yun-shou-ping-233790","高岩溅瀑图轴","本幅近景所绘树木不多，但富于形态变化，古木虬枝，青藤临风垂挂，二者穿插盘绕中显现出条理性。中景泉水潺潺，芦苇简约，将远、中景自然隔开，从而增强了全幅的纵深感及空间感。远山以淡墨干笔作长披麻皴，笔触开阔疏朗，显示出清逸深幽的韵致。此图不刻意求工、求似，唯求自然天趣，显示出恽寿平一向所追求的平淡超逸的审美意趣，为恽寿平精品之一。",[24,57,25,26,28,29,1285,1286,7,36,32,93,37,1287,461,934],"高岩","溅瀑","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纸本，淡设色","纵104.9厘米，横43厘米",[],27,{"id":1294,"slug":1295,"title":1296,"dynasty":18,"author":600,"museum":183,"description":1297,"tags":1298,"thumbUrl":1300,"material":329,"size":330,"collection":96,"collections":1301,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":47},283685,"dong-jing-shan-shui-tu-zhou-li-gong-nian-283685","冬景山水图轴","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》.",[24,91,25,26,29,1043,7,982,118,28,1299],"冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0868985d55d143b02ffd63031643b81a.jpg",[],26,{"id":1304,"slug":1305,"title":1306,"dynasty":52,"author":1307,"museum":20,"description":1308,"tags":1309,"thumbUrl":1310,"material":96,"size":96,"collection":43,"collections":1311,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":47},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","观梅图轴","丁云鹏","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[24,57,25,26,59,28,29,269,30,36,7,32,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[43,44],{"id":1313,"slug":1314,"title":1315,"dynasty":208,"author":1316,"museum":183,"description":1317,"tags":1318,"thumbUrl":1321,"material":39,"size":1322,"collection":96,"collections":1323,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":68},234994,"hua-hui-ling-mao-ping-12-ren-yi-234994","花卉翎毛屏12","任颐","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,27,25,255,36,7,1319,1320],"花卉","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5870bd8f431964529394a7aa9ab6cb0f.jpg","149 x 61 cm",[],{"id":1325,"slug":1326,"title":1327,"dynasty":18,"author":1328,"museum":183,"description":1329,"tags":1330,"thumbUrl":1331,"material":96,"size":96,"collection":96,"collections":1332,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":47},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","马麟","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[91,24,57,59,27,26,255,7,36,1287,254,104,615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":1334,"slug":1335,"title":1336,"dynasty":18,"author":290,"museum":54,"description":1337,"tags":1338,"thumbUrl":1340,"material":1341,"size":1342,"collection":43,"collections":1343,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":47},223446,"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[23,24,1339,27,59,29,31,36,7,32,254],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","绢","纵145cm，横88cm",[43,44],{"id":1345,"slug":1346,"title":1347,"dynasty":18,"author":1348,"museum":154,"description":1349,"tags":1350,"thumbUrl":1353,"material":789,"size":1354,"collection":41,"collections":1355,"showCount":1302,"zanCount":110,"manualWeight":11,"mainColor":68},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","秋山萧寺图","燕文贵","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,91,24,57,186,26,27,28,29,1351,1352,37,32,436,309,7,36,950,93,34],"秋山","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[41,43,44],{"id":1357,"slug":1358,"title":1359,"dynasty":52,"author":1360,"museum":183,"description":1361,"tags":1362,"thumbUrl":1363,"material":96,"size":96,"collection":96,"collections":1364,"showCount":1365,"zanCount":11,"manualWeight":11,"mainColor":47},239508,"jiang-nan-qiu-se-tu-zhou-wen-jia-239508","江南秋色图轴","文嘉","此作用淡墨轻赭晕染出江南秋意，上部山峦清润秀雅，苔点错落点缀林麓，林木疏密有致，萧疏中带着静穆生机。下部水泽蜿蜒萦回，旅人策马缓行于汀岸，衣袂悠然，将羁旅闲情融于清秋烟景之中。\n\n整幅画作笔致松秀平和，以平远、高远构图铺展秋江山水，吴门画派的文人雅趣尽显其中。题诗与画面呼应，把怀乡之思寄于江南秋色，淡逸清灵的笔墨间，尽显秋日萧淡雅致的意境，将山水之美与诗意情怀相融，尽显清雅文人意韵。",[24,57,25,27,29,28,30,105,37,33,93,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb264b32edebbf4b6fad5f761cbd88b0d.jpg",[],25,{"id":1367,"slug":1368,"title":1369,"dynasty":208,"author":303,"museum":183,"description":1370,"tags":1371,"thumbUrl":1372,"material":96,"size":96,"collection":96,"collections":1373,"showCount":1365,"zanCount":11,"manualWeight":11,"mainColor":68},237584,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237584","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,57,58,26,27,28,307,29,1043,92,93,32,34,60,104,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde38f8e39039eeb81895aa4915e1f49.jpg",[],{"id":1375,"slug":1376,"title":1377,"dynasty":18,"author":1378,"museum":183,"description":1379,"tags":1380,"thumbUrl":1382,"material":96,"size":96,"collection":96,"collections":1383,"showCount":1365,"zanCount":11,"manualWeight":11,"mainColor":47},227415,"pan-che-tu-jiang-guan-dao-227415","盘车图","江贯道","江贯道是北宋时期的画家，他名叫江参，贯道是他的字。 江贯道的山水画风格融合了董源、巨然的画风，擅画远山丛丛，水天一色。 清初的王鉴很喜欢江贯道的画风，临仿了多幅他的作品。 从清初四王的风格来看，他们都有强大的摹古能力，尤其是宋元名家的风格特征已经深深地烙印在他们的作品之中。",[24,91,57,29,27,28,7,36,313,1381,30,172,33,31],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],{"id":1385,"slug":1386,"title":1387,"dynasty":208,"author":483,"museum":183,"description":1388,"tags":1389,"thumbUrl":1390,"material":96,"size":96,"collection":96,"collections":1391,"showCount":1365,"zanCount":11,"manualWeight":11,"mainColor":68},224506,"shan-shui-ce-kai-shi-yi-shi-tao-224506","山水冊开(十一)","淡墨晕染江天，烟霭轻笼远山，将春日春江晕染得愈发空濛柔婉。岸侧垂柳疏条袅袅，几只禽鸟栖止枝头，清寂中又添几分灵动生机。江心孤帆半展，随波缓行，似载着晚春归人，悠悠划入淡远烟波之中。\n整幅画作笔墨简淡空灵，不着浓艳色彩，以写意之笔勾勒出江乡暮春的闲散幽寂。题诗与画境浑然相融，把春昼悠长的慵懒恬然藏在浅淡笔墨间，寥寥数笔便将悠远空寂的江天胜境铺展开来，尽显雅致文心。",[23,24,57,58,26,28,29,92,93,254,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a05b280c06a6313490c10405c040edb.jpg",[],{"id":1393,"slug":1394,"title":1395,"dynasty":1396,"author":290,"museum":183,"description":1397,"tags":1398,"thumbUrl":1399,"material":329,"size":330,"collection":96,"collections":1400,"showCount":1401,"zanCount":11,"manualWeight":11,"mainColor":47},231686,"ping-an-shi-dai-hou-qi-fu-nie-pan-tu-er-yi-ming-231686","平安时代后期 佛涅槃图二","不详","佛陀右胁安卧于娑罗双树间，神色静定无波，躯体舒展柔和，尽显圆寂时的超脱淡然。周遭诸天圣众、佛门弟子环伺垂立，或垂首哽咽，或俯身哀恸，神态各异，将天人同悲的沉恸尽数铺陈。\n\n古旧斑驳的底色里，朱红石绿虽已黯淡，仍可窥见昔年设色的厚重庄严。画面以静穆的涅槃之姿，衬以群像的悲恸哀戚，在动静反差间，诠释寂灭的圆满与送别者的不舍，尽显这类题材特有的悲悯与庄严。",[23,24,91,144,27,30,37,254,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4255253992ef4343df6460318aa80d0.jpg",[],24,{"id":1403,"slug":1404,"title":1405,"dynasty":18,"author":19,"museum":183,"description":1406,"tags":1407,"thumbUrl":1408,"material":96,"size":96,"collection":96,"collections":1409,"showCount":1401,"zanCount":11,"manualWeight":11,"mainColor":47},227827,"fang-gu-qiu-dao-tu-ma-yuan-227827","访古求道图","此作截取林苑一隅，老梅虬枝盘曲如铁，繁花密缀其上，冷香暗涌。古松倚侧挺健，苍郁沉雄。策杖雅士缓行林间，仆从悄然随行，衣袂轻扬间，尽显萧散古雅的林下风致。\n\n笔墨洗练刚劲，以硬屈的线条勾勒枝干，尽显枯木的苍古之态，梅花晕染清润素雅，淡设色晕染出幽寂清寒的氛围，将林泉访古的幽怀雅趣融于边角取景中，简淡空灵，带着清寂悠远的韵致，尽显南宋院体画的精妙功力。",[23,91,24,57,27,28,30,29,269,7,36,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":1411,"slug":1412,"title":1413,"dynasty":18,"author":1414,"museum":54,"description":1415,"tags":1416,"thumbUrl":1420,"material":789,"size":1421,"collection":96,"collections":1422,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":47},288488,"san-gu-tu-li-di-288488","三顾图","李迪","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。构思精妙，功力深湛，雄伟处动人心魄。所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[23,24,57,226,1417,27,36,7,1418,32,1419,187,106,28,30],"人物画","草屋","三顾茅庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57784c84fc84774a15e3779c68ad0b6e.jpg","82.5x175.7厘米",[],{"id":1424,"slug":1425,"title":1426,"dynasty":52,"author":670,"museum":183,"description":1427,"tags":1428,"thumbUrl":1432,"material":96,"size":96,"collection":96,"collections":1433,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":47},228298,"lao-lian-hua-tang-tu-chen-hong-shou-228298","老莲画堂图","淡墨白描晕开古雅夜色，灯影斜斜悬于堂侧，晕开一室松弛的雅集意趣。高古游丝般的线条勾勒出人物百态：长者凭坐把盏，悠然漫饮；士人垂眸静穆，似沉湎清谈余韵；侍女低眉侍立，温婉静雅，僮仆俯身备食，意态自然。沉暗的古绢底色衬出简淡笔意，留白里漫着晚夜风致，未施浓丽敷色，仅以寥寥墨痕，便将文人士子宴坐清谈的闲雅况味尽数铺展，笔简意长，藏着旧时光的温软松弛。",[23,24,57,25,59,27,30,7,1429,1430,1431],"器物","灯","香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07609c13b78b81a117b87dd9ce988a.jpg",[],{"id":1435,"slug":1436,"title":1437,"dynasty":18,"author":140,"museum":88,"description":141,"tags":1438,"thumbUrl":1439,"material":789,"size":96,"collection":96,"collections":1440,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":47},218086,"luo-han-tu-ce-2-li-gong-lin-218086","罗汉图册-2",[23,24,57,58,143,26,144,30,36,104,394,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef32533e0a8e2c73a9ac98b88eaed196.jpg",[],{"id":1442,"slug":1443,"title":1444,"dynasty":52,"author":1445,"museum":183,"description":1446,"tags":1447,"thumbUrl":1448,"material":329,"size":330,"collection":96,"collections":1449,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":47},289789,"shan-cun-tu-li-zai-289789","山村图","李在","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[91,24,29,31,308,92,254,7,36,93,34,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501868e78597399ce0c3278de9863e44.jpg",[],22,{"id":1452,"slug":1453,"title":1454,"dynasty":18,"author":1455,"museum":183,"description":1456,"tags":1457,"thumbUrl":1458,"material":329,"size":330,"collection":96,"collections":1459,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":47},289374,"dong-ting-qiu-yue-tu-xia-gui-289374","洞庭秋月图","夏圭","描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[24,91,25,26,28,29,36,7,104,92,294,93,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dc250e39a664397ff48c4925b0cb88.jpg",[],{"id":1461,"slug":1462,"title":1463,"dynasty":52,"author":1445,"museum":183,"description":1464,"tags":1465,"thumbUrl":1468,"material":329,"size":330,"collection":96,"collections":1469,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":47},288827,"shan-zhuang-gao-yi-tu-li-zai-288827","山庄高逸图","此画曾传为郭熙作，实为李在手笔。这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。",[23,24,25,26,28,29,31,60,93,92,7,36,934,1466,1088,30,1467],"塔","高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7de78491754e0443afe228850bafd56.jpg",[],{"id":1471,"slug":1472,"title":1473,"dynasty":208,"author":1474,"museum":183,"description":1475,"tags":1476,"thumbUrl":1480,"material":329,"size":330,"collection":96,"collections":1481,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":68},288391,"shuang-mao-kui-yu-cheng-zhang-288391","双猫窥鱼","程璋","此图描绘的是一幅秋天的美丽图景。一弯池水迂回流淌，岸边苇草萌发，树枝随风而动，显得遒劲与洒脱。池塘边两只花猫，葡匐在岸上，双眼紧盯着池塘中的游鱼。仿佛在欣赏它们欢快的舞姿，溪水远处，淡色轻染，烟霭迷濛。全画以水墨设色技法来表现物象，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。可能是由于画家懂得生物百态，所以画的石头，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，都能合乎自然景物的真实性。并运用干、湿、浓、淡的笔法墨法所造成的变化，整体显得儒雅、秀润。",[23,24,25,27,1477,1256,7,36,104,1478,1479],"猫","衰草","落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0a9a7444833f2d873b38ff11d8ab76.jpg",[],{"id":1483,"slug":1484,"title":1485,"dynasty":52,"author":279,"museum":20,"description":1486,"tags":1487,"thumbUrl":1488,"material":1489,"size":1490,"collection":96,"collections":1491,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":68},234059,"shan-shui-ce-dong-qi-chang-234059","山水册","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[91,24,57,58,27,26,28,29,60,93,34,36,7,32,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],{"id":1493,"slug":1494,"title":1495,"dynasty":18,"author":166,"museum":183,"description":1496,"tags":1497,"thumbUrl":1498,"material":96,"size":96,"collection":96,"collections":1499,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":68},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[23,91,24,57,58,27,1339,28,29,92,31,7,36,93,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":1501,"slug":1502,"title":1503,"dynasty":52,"author":1504,"museum":1505,"description":1506,"tags":1507,"thumbUrl":1508,"material":952,"size":1509,"collection":43,"collections":1510,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":274},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","蓝瑛","美国芝加哥艺术学院","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。",[23,24,57,186,213,28,27,187,188,106,29,37,32,60,93,34,254,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[43,216],{"id":1512,"slug":1513,"title":1514,"dynasty":18,"author":1515,"museum":1516,"description":1517,"tags":1518,"thumbUrl":1519,"material":789,"size":1520,"collection":96,"collections":1521,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":47},221587,"ma-bei-shou-lie-tu-zhou-zhang-kan-221587","马背狩猎图轴","张勘","美国弗瑞尔美术馆","张堪，字君游，南阳宛县（今河南省南阳市）人，南阳郡豪门大族 [1] 。张堪很早就成为孤儿，他把父亲留下的数百万家产让给堂侄。16岁时，他来到长安受业学习。他的品行超群，诸儒都称他为“圣童”。\n公元39年到46年期间，张堪拜渔阳太守。他是个文武全才，在军事上，打得北部匈奴不敢南犯，经济上创造性的落实了光武帝刘秀的休养生息的国策，出现了史学家称为的“渔阳惠政”。百姓歌曰：“桑无附枝，麦穗两岐。张君为政，乐不可支。”东汉著名科学家、文学家张衡就是他的孙子。",[91,24,57,25,27,59,28,30,105,892,29,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627fa5059548371c205974501bf2830a.jpg","91.4×52.2厘米",[],{"id":1523,"slug":1524,"title":1525,"dynasty":208,"author":1526,"museum":623,"description":1527,"tags":1528,"thumbUrl":1532,"material":27,"size":96,"collection":43,"collections":1533,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":68},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。",[23,24,57,25,26,27,28,29,30,1043,36,7,1529,436,1530,1531],"岸坡","寒秋","晚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45634c300f514a2047d57e857165e26.jpg",[43],{"id":1535,"slug":1536,"title":1537,"dynasty":18,"author":1538,"museum":183,"description":1539,"tags":1540,"thumbUrl":1541,"material":96,"size":96,"collection":96,"collections":1542,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":47},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","文姬归汉图","陈居中","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,91,24,57,25,27,59,30,105,33,7,36,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],21,{"id":1545,"slug":1546,"title":1547,"dynasty":52,"author":558,"museum":54,"description":1548,"tags":1549,"thumbUrl":1550,"material":26,"size":1551,"collection":43,"collections":1552,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":47},219293,"shan-shui-ji-jing-ce-yuan-shan-shui-cao-zhi-bai-219293","山水集景册-元山水","曹知白（西元一二七二—一三五五年），华亭（今江苏上海）人。字又玄，号云西。至元（一三三五—一三四○年）间，为昆山教谕。善画山水，师法郭熙。水墨画虬松双株并立于前，树枝往下伸张如蟹爪状，是典型李郭派画法。茅屋层基而起，流水下泻于旁，淙淙有声，窗间有人仰谛，鹤步松阴，一派闲散之意。全图之山石树木，用墨浓淡相间，饰以苔点，疏林深秀，天真平淡。",[24,57,26,58,28,29,32,37,36,93,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86004cc62cb48c9f04a95ff719be5e31.jpg","68.1x34.3",[43],{"id":1554,"slug":1555,"title":1556,"dynasty":18,"author":140,"museum":88,"description":141,"tags":1557,"thumbUrl":1558,"material":789,"size":96,"collection":96,"collections":1559,"showCount":1543,"zanCount":11,"manualWeight":11,"mainColor":47},218085,"luo-han-tu-ce-3-li-gong-lin-218085","罗汉图册-3",[23,24,57,58,143,26,144,30,36,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c47d81aa18fa9c5185bb0398eef3e7.jpg",[],{"id":1561,"slug":1562,"title":1563,"dynasty":18,"author":1564,"museum":183,"description":1565,"tags":1566,"thumbUrl":1568,"material":329,"size":330,"collection":96,"collections":1569,"showCount":1570,"zanCount":11,"manualWeight":11,"mainColor":47},288462,"chun-shan-yu-ting-tu-zhang-xun-li-288462","春山渔艇图","张训礼","是张训礼绘制的一幅青绿山水扇面画，具有南宋工笔画的艺术特色。在本图中，远山层峦叠嶂，近处水面之上一位渔夫正在劳作，岸边一棵老松枝干伸向水面，像是在与渔夫打招呼。在《春山渔艇图》中远山青翠，近处草木茂盛，浩荡水面之上渔夫手举两根长杆，动感十足，画面中处处焕发着勃勃生机，洋溢着无边的春意。《春山渔艇图》表现了作者积极乐观的人生态度，是南宋山水画中的经典之作。",[23,24,507,91,27,199,29,93,92,36,7,32,129,1567],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea5b5b3799c530a3f1beae07f786f7d.jpg",[],20,{"id":1572,"slug":1573,"title":1574,"dynasty":18,"author":290,"museum":183,"description":1575,"tags":1576,"thumbUrl":1577,"material":96,"size":96,"collection":96,"collections":1578,"showCount":1570,"zanCount":11,"manualWeight":11,"mainColor":68},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,57,186,26,28,29,30,31,60,93,92,34,254,7,36,106,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":1580,"slug":1581,"title":1582,"dynasty":1583,"author":1584,"museum":472,"description":1585,"tags":1586,"thumbUrl":1587,"material":146,"size":96,"collection":64,"collections":1588,"showCount":1570,"zanCount":11,"manualWeight":11,"mainColor":47},219563,"mu-tong-tu-dai-song-219563","牧童图","唐","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。",[24,57,26,30,313,7,36,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be78322a9eb453ec712a0ab48718e7.jpg",[64],{"id":1590,"slug":1591,"title":238,"dynasty":18,"author":239,"museum":54,"description":1592,"tags":1593,"thumbUrl":1594,"material":96,"size":96,"collection":96,"collections":1595,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":68},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。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。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。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘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。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[23,24,57,186,226,26,28,29,37,118,242,36,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],19,{"id":1598,"slug":1599,"title":1600,"dynasty":18,"author":290,"museum":54,"description":1601,"tags":1602,"thumbUrl":1603,"material":146,"size":1604,"collection":43,"collections":1605,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":47},218985,"han-lin-dai-du-tu-yi-ming-218985","寒林待渡图","河岸边的岩石上有两棵松树，它们伸出手指和爪子，像虬龙在跳跃，后面是枯枝和其他树木。在空地之间有一个简单的小屋，另一边是停泊在岸边的船，一个人拿着杖，另一个人推着驴子过去。场景中间有一个平坦的斜坡，一直蜿蜒到远方，在一个角落里，有一个带着篱笆的院子的小屋，两个人在一起喝酒。山丘消失在远方，远处山峰的轮廓在烟和雾中飘荡。整幅画，除了前景的松树和石头比较厚重和紧凑外，都是一个闲适而简单的场景，表达了冬天的寒冷和寂静的情绪。",[23,24,26,28,25,29,7,36,104,93,949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d10dfa682a87984e0bffc7b101e7596.jpg","136.8x99.7",[43],{"id":1607,"slug":1608,"title":1609,"dynasty":208,"author":822,"museum":88,"description":1610,"tags":1611,"thumbUrl":1612,"material":95,"size":96,"collection":96,"collections":1613,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":68},214393,"shan-shui-tu-ce-5-zhu-da-214393","山水图册-5","淡墨皴出山崖嶙峋之态，清寒如雾浸纸。疏枝枯树似铁线横斜，牵起空寂的风。山隅茅舍隐然，无人迹却藏遗世况味。留白非虚空，是天地苍茫，是心尖清寂。笔墨极简见风骨，每一笔克制却道尽孤寂孤傲。如无声绝句，纸间淌着冷逸禅意，荒寒里触到遗民沉郁与超脱，让观者于简淡中品得深致的精神回响。",[23,24,57,58,26,28,29,7,36,104,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af34fe478e5f191bb4bc98911d7f299.jpg",[],{"id":1615,"slug":1616,"title":1617,"dynasty":1618,"author":1619,"museum":167,"description":1620,"tags":1621,"thumbUrl":1623,"material":96,"size":96,"collection":43,"collections":1624,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":1625},202941,"cao-tang-qiu-se-tu-zhou-pu-ru-202941","草堂秋色图轴","近代","溥儒","画面以淡逸设色晕染秋意，草堂藏于林木间，屋内人影闲坐，尽显隐居之闲适。溪流潺潺绕岸，小桥横卧其上，山石以细腻皴法勾勒肌理，松枝苍劲挺拔，枯藤缠绕老树，秋之清寂与生机交织。笔墨兼工带写，将山水之秀与文人之闲凝于尺幅，淡彩轻敷中透出悠远宁静的意境，尽显传统书画的雅致韵致。",[24,29,27,60,93,7,36,28,1622,23],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d52f005e4953716a049c0b1b67aa09b.jpg",[43],"c1b8a4",{"id":1627,"slug":1628,"title":1629,"dynasty":208,"author":1630,"museum":167,"description":1631,"tags":1632,"thumbUrl":1634,"material":96,"size":96,"collection":43,"collections":1635,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":1636},202208,"fang-yan-wen-gui-shan-shui-zhou-wang-jian-202208","仿燕文贵山水轴","王鑑","峰峦积雪皑皑，皴笔皴擦出山石嶙峋纹理，枯藤老树遒劲如铁，枝桠间透着冬日萧疏。屋舍错落于岩岫旁，溪流潺潺绕石而过，墨色浓淡相济，留白处显雪景空灵。仿燕文贵之法却融己意，笔墨兼具苍劲与雅致，静谧清旷的山林意境扑面而来，古画韵致尽显。",[29,28,213,27,93,7,36,1633,23],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4fea520bb7bab600acc3f1c3eb26e3.jpg",[43],"c0b8ac",{"id":1638,"slug":1639,"title":1640,"dynasty":208,"author":356,"museum":183,"description":1641,"tags":1642,"thumbUrl":1644,"material":329,"size":330,"collection":96,"collections":1645,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":68},290424,"ke-ru-qing-tong-gen-ru-shi-tu-zhou-wu-chang-shuo-290424","柯如青桐根如石图轴","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》。",[23,24,57,25,26,27,104,1643,7,187,106],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe41d1300ae2de9120a26555f2abfb69.jpg",[],18,{"id":1648,"slug":1649,"title":1650,"dynasty":86,"author":1651,"museum":183,"description":1652,"tags":1653,"thumbUrl":1654,"material":329,"size":330,"collection":96,"collections":1655,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":68},290259,"shan-lin-ye-zhang-tu-jin-fu-290259","山林曳杖图","金黼","此图画高耸入云的树木，枝干虬曲，占据了画面的大半。树下一位长者手持竹杖，正向远方眺望，身后随从一侍童。树干勾勒细致，枝梢有蟹爪皴与夹叶皴，墨色浓淡得宜，陂陀及树干上以浓墨醒点，颇具精神。图中有元倪瓒、虞良、尤玘、董昶等人诗题。金黼的作品流传极少，此幅殊为珍贵。",[91,24,25,26,29,36,7,93,104,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfcca3c77b56ec4f2d79d414d7cfba1.jpg",[],{"id":1657,"slug":1658,"title":1659,"dynasty":86,"author":290,"museum":54,"description":1660,"tags":1661,"thumbUrl":1662,"material":1172,"size":1663,"collection":43,"collections":1664,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":47},232263,"mu-meng-zhan-feng-tu-yi-ming-232263","牧梦占丰图","日已斜挂，远处重岭，烟岚迷濛，村居隐现。前景岸上有柳石环成一状似舞台之空间。一牧童正为牛系紖牛首偏倚，尾巴轻摆，温驯乖巧。另有三牛卧地休憩。一体大健硕，花白相杂；另二当为母子，双目相对，爱意无限。旁有一牧童以簑代席，枕膝而眠，面容祥悦，彷入好梦。身后却有同伴恶作剧而至。\n柳树干老槎枒，而枝嫩幼叶；远方桃林花开繁茂，点缀地通幅春意盎然。树石绘法与元意趣类明浙派风格，或为其先驱。",[24,57,25,27,28,29,37,313,30,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c1f7ae0a2d7bf6eae0fc73297bbaa5.jpg","147.1x98.1厘米",[43],{"id":1666,"slug":1667,"title":1668,"dynasty":208,"author":303,"museum":183,"description":1669,"tags":1670,"thumbUrl":1671,"material":96,"size":96,"collection":96,"collections":1672,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":68},224440,"xian-shan-lou-guan-tu-wang-hui-224440","仙山楼观图","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[23,24,57,25,29,31,7,36,93,32,28,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":1674,"slug":1675,"title":1676,"dynasty":18,"author":290,"museum":54,"description":1677,"tags":1678,"thumbUrl":1679,"material":936,"size":1680,"collection":96,"collections":1681,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":47},223452,"xiao-han-lin-tu-zhou-yi-ming-223452","小寒林图轴","该幅两树石意似未尽，应是残存长卷的一段。平野上林木凋零，天色惨淡欲雪，小径上两翁且行且谈，一童挑担尾随。树枝用笔圆劲，直如篆籀，垂藤生动，势若惊蛇。全幅用笔细谨，墨法精绝，为宋无名款画中之杰出者。 此画绘北方清旷萧森之景，这种寒林平野的主题是由北宋李成所创，但图中坡石皴染和树木枝桠的布置已有郭熙的影响，人物画法精练传神，是北宋风格。因此此图就算不出于郭熙，也是时代相去不远之作。右侧飞雁一行，笔调单薄，与全图气韵不合，可能是后人所补。",[23,24,57,25,26,28,29,36,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29861984f9f280d64ed489a7687eeb8e.jpg","该幅42.2x49.2公分全幅66.5公分",[],{"id":1683,"slug":1684,"title":1685,"dynasty":208,"author":822,"museum":88,"description":1686,"tags":1687,"thumbUrl":1688,"material":95,"size":96,"collection":96,"collections":1689,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":68},214388,"shan-shui-tu-ce-9-zhu-da-214388","山水图册-9","枯松如铁，虬枝斜探，墨线苍劲若篆籀，寥寥数笔便勾出山峦的峭拔与空濛。大片留白晕染云气流动，咫尺画幅生出千里烟霞之势。山石皴擦极简却见肌理，坡岸几株细树立得弱小倔强，似在空寂里守着生机。\n\n整幅画简淡到极致，藏着遗世的清冷与超脱——每处笔触都带疏离诗意，画家将心绪揉进墨里化在留白间，让观者于静默中触到天地浩渺与生命韧性。简而不空，淡而有味，八大山人以极简笔墨写尽深情，空寂里藏着乾坤，叫人在素净山水间读见一份倔强的诗意与旷达的心境。",[23,24,57,58,26,28,29,104,36,383,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059f84d01ef03869f5a3310858fe5883.jpg",[],{"id":1691,"slug":1692,"title":849,"dynasty":208,"author":1693,"museum":167,"description":1694,"tags":1695,"thumbUrl":1696,"material":96,"size":96,"collection":43,"collections":1697,"showCount":1646,"zanCount":11,"manualWeight":11,"mainColor":1698},202089,"shan-shui-tu-zhou-zhang-dong-202089","张栋","画面近景，枯树枝干虬曲，与劲挺竹林相伴，石间溪流缓淌；水榭半隐于草木间，添得几分幽居之趣。中景湖面开阔，远山层叠，笔墨疏淡却见丘壑。整幅以水墨写就，线条灵动，皴法简练，意境清寂悠远，尽显文人山水的空灵雅致，似可闻林间风、涧中水，让人心生静谧之感。",[24,26,29,7,36,394,34,93,28,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe417d2bf247c5daeef5479ea731490f6.jpg",[43],"c7bda1",{"id":1700,"slug":1701,"title":1702,"dynasty":208,"author":303,"museum":183,"description":1370,"tags":1703,"thumbUrl":1706,"material":96,"size":96,"collection":258,"collections":1707,"showCount":1708,"zanCount":11,"manualWeight":11,"mainColor":68},237579,"gu-jian-shu-lin-tu-zhou-wang-hui-237579","古涧疏林图轴",[24,57,25,26,28,213,7,36,1704,1705,29,104,93],"疏林","古涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8333f98813ce41aa4afc681f09ce7f2.jpg",[258],17,{"id":1710,"slug":1711,"title":1712,"dynasty":208,"author":483,"museum":20,"description":1713,"tags":1714,"thumbUrl":1715,"material":1716,"size":1717,"collection":96,"collections":1718,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":68},233417,"yuan-ji-shan-shui-ce-shi-tao-233417","原济山水册","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\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。",[24,26,58,28,29,104,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbc7f6586f3953ae969d45c5a8d59a6.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],16,{"id":1721,"slug":1722,"title":1723,"dynasty":208,"author":1724,"museum":88,"description":1725,"tags":1726,"thumbUrl":1727,"material":414,"size":1728,"collection":96,"collections":1729,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":47},232687,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-232687","仿倪云林古木图","查士标","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”。",[23,24,26,213,29,7,36,104,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd8c4275900bc0d3ef08012f2755498.jpg","110×50厘米",[],{"id":1731,"slug":1732,"title":1733,"dynasty":52,"author":1504,"museum":183,"description":1734,"tags":1735,"thumbUrl":1736,"material":96,"size":96,"collection":96,"collections":1737,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":47},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,24,57,25,26,27,29,7,36,92,93,34,213,28,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":1739,"slug":1740,"title":1741,"dynasty":208,"author":1526,"museum":183,"description":1742,"tags":1743,"thumbUrl":1744,"material":414,"size":1745,"collection":258,"collections":1746,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":68},222828,"shan-shui-tu-ce-zhang-feng-222828","山水图册","张风：（？─公元一六六二年），风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理，他曾说：“画要近看好，远看又好，盖近看看小节目，远看看大片段。画多有近看佳，而远看不佳者，是大片段难也”。传世作品有《诸葛亮像》轴，辑入《故宫名画三百种》﹔《观瀑图》轴，现藏上海博物馆﹔《赏枫图》轴，藏日本奈良大和文华馆﹔《为北觐写山水册》，《嗅菊图》轴，均辑入《中国绘画史图录》下册。能诗词，创作有《双镜庵诗钞》、《上药亭诗余》。还有《论画简四通辑》入周亮工《尺牍新钞》",[23,24,26,29,7,36,30,58,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f9aa7a8475d5b551675e8164c13572c.jpg","15.4x22.9厘米",[258],{"id":1748,"slug":1749,"title":1750,"dynasty":208,"author":822,"museum":88,"description":1751,"tags":1752,"thumbUrl":1754,"material":95,"size":96,"collection":96,"collections":1755,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":68},214391,"shan-shui-tu-ce-7-zhu-da-214391","山水图册-7","淡墨皴染的山峦线条如篆般凝练，丘壑间藏着远意。疏枝横斜，墨色浓淡交织出枯荣之态，似在风中低语清愁。山间屋舍隐现，似有烟火却又疏离，与冷寂景致相融。画面简而不空，虚实处见真意，笔墨间凝着孤高遗世的心境。留白处似有风过，拂过山水也撩动思绪。每一笔浑然天成，将深藏的孤寂与超脱化作纸上清辉，引人沉入这简淡却深沉的意境，触摸那份无声的倾诉。墨韵里的枯荣、景致中的疏离，皆成心迹的写照，让观画者在简淡中读懂那份超脱尘俗的孤高与清愁。",[23,24,26,58,28,29,228,626,1753,7,36,106],"山岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad63b7cc181b0c3145c798fa4c811082.jpg",[],{"id":1757,"slug":1758,"title":1759,"dynasty":208,"author":1237,"museum":20,"description":1760,"tags":1761,"thumbUrl":1767,"material":1768,"size":1769,"collection":96,"collections":1770,"showCount":1771,"zanCount":11,"manualWeight":11,"mainColor":68},233196,"qiu-shu-dou-qin-tu-zhou-hua-yan-233196","秋树斗禽图轴","此图绘古树一株，枝上藤萝缠绕，黄叶飘零，一派深秋之景。一只黑色的鸜鵒（音瞿欲，俗称八哥）倒挂枝头，注视着正在空中相斗的另外两只，它们争斗激烈，情节颇为有趣，增强了画作的生活气息和生动感。\n全幅用笔灵活清新，枯枝、藤萝用率笔写意，翎毛用兼工带写之法，虚实结合，为华氏大写意画之代表作。",[24,57,25,27,26,253,255,7,36,254,570,1762,1763,1764,1765,1766],"枝干","秋叶","墨色","色彩","斗禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52808a81b496ddbe9081578a515878f7.jpg","纸本，设色","纵117厘米，横54.3厘米",[],15,{"id":1773,"slug":1774,"title":1775,"dynasty":52,"author":1776,"museum":20,"description":1777,"tags":1778,"thumbUrl":1779,"material":1780,"size":1781,"collection":96,"collections":1782,"showCount":1771,"zanCount":11,"manualWeight":11,"mainColor":68},233118,"lin-xi-you-shang-tu-zhou-wen-zheng-ming-233118","临溪幽赏图轴","文徴明","图中山坡上松柏、杂树高耸茂密，绿荫下溪水蜿蜒，溪上横卧小桥，桥上一老者临溪赏景，其后有童子侍立。用笔细谨，着墨精巧，意境清幽。",[24,57,25,26,28,29,37,7,36,93,30,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0989418a5c49480611f009704cb440.jpg","纸本，墨笔","纵127.3厘米 横50厘米",[],{"id":1784,"slug":1785,"title":1786,"dynasty":18,"author":1787,"museum":183,"description":1788,"tags":1789,"thumbUrl":1790,"material":96,"size":96,"collection":96,"collections":1791,"showCount":1771,"zanCount":11,"manualWeight":11,"mainColor":47},227437,"han-lin-ju-qin-tu-zhou-gao-dao-227437","寒林聚禽图轴","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,24,57,91,25,59,28,29,949,254,7,36,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37bba1188351b629f22203bd50fb89f.jpg",[],{"id":1793,"slug":1794,"title":1795,"dynasty":52,"author":1504,"museum":167,"description":1796,"tags":1797,"thumbUrl":1798,"material":96,"size":96,"collection":43,"collections":1799,"showCount":1771,"zanCount":11,"manualWeight":11,"mainColor":1800},203304,"fang-gu-shan-shui-tu-ce-lan-ying-203304","仿古山水图册","这幅山水以苍劲笔墨勾勒山石轮廓，斧劈皴与枯笔皴擦交错，山石嶙峋肌理厚重，尽显嶙峋质感。山间枯树虬枝盘曲，枝桠疏朗伸展，携冬日清寂之态。远处瀑布飞泻潺潺，为静谧景致注入灵动生气。崖边红衣人物凭栏而立，似观瀑沉思，人与苍茫山水相映，更衬天地悠远、心境淡然。画面墨色层次丰富，淡设色晕染雅致，仿古意趣中蕴含个人笔墨风骨，于萧瑟里见深致，简淡中藏古雅气韵，是仿古山水的精妙之作。",[24,57,58,28,29,7,36,104,26,27,30,934,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde014523e97d93ed8342b1099aececbd.jpg",[43],"a7a093",{"id":1802,"slug":1803,"title":1804,"dynasty":86,"author":1805,"museum":183,"description":1806,"tags":1807,"thumbUrl":1810,"material":329,"size":330,"collection":96,"collections":1811,"showCount":1812,"zanCount":11,"manualWeight":11,"mainColor":68},290584,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhou-zhang-yu-290584","仿郑虔林亭秋爽图轴","张雨","张雨（1277年-1348年），又名天雨，字伯雨，法名嗣真，别号贞居，又号句曲外史，钱塘（今浙江杭州）人，元朝茅山宗道士。年二十遍游天台、括苍诸山。",[24,25,26,28,29,34,36,7,93,92,32,30,327,187,106,1808,1809],"雅集","清爽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe127da8e79914605105f333311b13207.jpg",[],14,{"id":1814,"slug":1815,"title":1816,"dynasty":86,"author":558,"museum":183,"description":1817,"tags":1818,"thumbUrl":1820,"material":329,"size":330,"collection":96,"collections":1821,"showCount":1812,"zanCount":11,"manualWeight":11,"mainColor":47},289558,"shi-shu-tu-cao-zhi-bai-289558","石树图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[507,24,91,26,36,1819,7,226,28],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e83df6d5e7e5117629d2c3caf0c2cf6.jpg",[],{"id":1823,"slug":1824,"title":72,"dynasty":18,"author":290,"museum":183,"description":1825,"tags":1826,"thumbUrl":1827,"material":96,"size":96,"collection":96,"collections":1828,"showCount":1812,"zanCount":11,"manualWeight":11,"mainColor":47},232914,"han-lin-tu-yi-ming-232914","以瘦硬劲挺的笔触勾勒虬曲枯枝，蟹爪般的枝桠交错伸展，将冬林脱尽繁叶的苍古姿态尽显。古木错落倚着坡石生长，笔墨老辣洗练，褪去春华艳色，只留沉郁骨相。\n\n画面氤氲着清寂荒寒的氛围，将冬日郊野的冷冽萧索铺陈开来，于极简意象里藏着对枯淡幽远的美学追寻。不见翠色繁花，唯有枯木寒石，却在萧索间生出沉古雅逸的风骨，仿佛朔风穿林的空寂声响已在耳畔，将荒寒郊林的幽远意境揉进每一道笔痕中。",[91,24,57,25,26,28,7,36,104,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c644df4ab44972659ce2cb160a6c132.jpg",[],{"id":1830,"slug":1831,"title":1832,"dynasty":52,"author":1445,"museum":54,"description":1833,"tags":1834,"thumbUrl":1835,"material":789,"size":1836,"collection":96,"collections":1837,"showCount":1812,"zanCount":11,"manualWeight":11,"mainColor":47},222159,"shan-zhuang-gao-yi-zhou-li-zai-222159","山庄高逸轴","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,226,25,26,28,172,572,60,93,92,34,31,7,36,30,934,1466,1633,728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9606b6f97673ebd0ca6b1996030ab49.jpg","纵188.8cm、横109.1cm",[],{"id":1839,"slug":1840,"title":1841,"dynasty":208,"author":1842,"museum":167,"description":1843,"tags":1844,"thumbUrl":1846,"material":96,"size":96,"collection":43,"collections":1847,"showCount":1812,"zanCount":11,"manualWeight":11,"mainColor":1848},201988,"fang-dong-qi-chang-shan-shui-tu-zhou-hong-li-201988","仿董其昌山水图轴","弘历","这幅山水取法董氏笔意，以淡墨皴染出平远丘壑。近景枯藤缠枝，老树疏朗，疏竹与山石相映成趣，笔墨简约却见清润；林间隐现茅舍，添几分野逸之致。远景山峦连绵，墨气淡远，皴擦结合间尽显空灵韵味。整体画风萧散简远，墨色层次分明，将文人画的闲适淡远融入笔触，仿作中既得董氏山水的笔墨神韵，又暗含悠然的文人情怀，意境清幽耐人寻味。",[29,26,213,28,7,36,394,32,1845,23],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942bfe52e852ad3d2090a46b4bc577fb.jpg",[43],"c8ad90",{"id":1850,"slug":1851,"title":1852,"dynasty":86,"author":1853,"museum":54,"description":1854,"tags":1855,"thumbUrl":1856,"material":77,"size":1857,"collection":96,"collections":1858,"showCount":1859,"zanCount":11,"manualWeight":11,"mainColor":47},291016,"xiao-chun-xi-jing-tu-zhao-yong-291016","小春熙景图","赵雍","赵雍（1289年－1369年），字仲穆，吴兴（今浙江湖州）人。元代书画家。赵孟頫之子。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》《溪山渔隐》《饮中八仙图》等。",[24,25,26,29,30,36,32,60,7,728,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff512888b5e32fa7757161f1a46d8c0bd.jpg","155x76.5",[],13,{"id":1861,"slug":1862,"title":1863,"dynasty":52,"author":290,"museum":20,"description":1864,"tags":1865,"thumbUrl":1866,"material":96,"size":96,"collection":96,"collections":1867,"showCount":1859,"zanCount":11,"manualWeight":11,"mainColor":47},234211,"yue-dai-xi-shan-xiao-si-tu-juan-yi-ming-234211","岳岱溪山萧寺图卷","此作以长卷铺展山野溪居之境，开篇题墨淋漓，笔意苍劲朴拙。继而峰峦层叠，以干笔皴擦写尽山石肌理，苔点错落，尽显丘壑深邃。溪岸蜿蜒，洲渚间林木蓊郁，村居萧寺错落隐现于林泉之间，野意悠然。\n全作用墨清润淡雅，勾勒皴擦间尽显文人水墨的简淡意趣，将江南山野的清寂萧散缓缓铺陈，带着温润散逸的吴门意韵，在长卷间绘就林泉高致，尽显幽居林下的雅致情怀。",[23,91,24,57,186,26,27,28,29,31,60,93,34,254,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e026addd26e1c769617a191992a01c8.jpg",[],{"id":1869,"slug":1870,"title":1871,"dynasty":86,"author":1853,"museum":20,"description":1872,"tags":1873,"thumbUrl":1874,"material":789,"size":1875,"collection":96,"collections":1876,"showCount":1859,"zanCount":11,"manualWeight":11,"mainColor":47},233201,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-233201","秋林远岫图页","赵武灵王（约公元前340年—前295年），中国战国中后期赵国君主，嬴姓，赵氏，名雍。（先秦时期男子称氏不称姓，故当称为赵雍，不叫嬴雍。）赵武灵王在位时，推行的“胡服骑射”政策，赵国因而得以强盛，灭中山国，败林胡、楼烦二族，辟云中、雁门、代三郡，并修筑了“赵长城”。武灵王本人在前296年的沙丘之乱中被幽禁饿死，谥号为武灵王（“灵”为贬义谥号，表示“乱而不损”，赵国君主称王，自武灵王谥号始）。",[24,57,91,170,507,26,27,28,29,7,36,118,104,254,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7e5b742b617c523f43b90f6a163971.jpg","68X77cm",[],{"id":1878,"slug":1879,"title":1880,"dynasty":86,"author":1853,"museum":183,"description":1881,"tags":1882,"thumbUrl":1883,"material":96,"size":96,"collection":96,"collections":1884,"showCount":1859,"zanCount":11,"manualWeight":11,"mainColor":161},228029,"fang-you-tu-zhao-yong-228029","访友图","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,24,27,29,28,30,34,37,60,93,33,7,36,254,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":1886,"slug":1887,"title":1888,"dynasty":208,"author":1889,"museum":183,"description":1890,"tags":1891,"thumbUrl":1892,"material":96,"size":96,"collection":96,"collections":1893,"showCount":1859,"zanCount":11,"manualWeight":11,"mainColor":47},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","吴宏","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,91,24,57,25,27,28,29,308,37,60,93,92,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":1895,"slug":1896,"title":920,"dynasty":86,"author":290,"museum":54,"description":1897,"tags":1898,"thumbUrl":1899,"material":1172,"size":1900,"collection":96,"collections":1901,"showCount":1859,"zanCount":110,"manualWeight":11,"mainColor":47},223508,"lin-ting-qiu-se-tu-yi-ming-223508","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收网，朝起江村，各有所事。\n本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[23,24,91,57,26,28,29,34,7,36,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","27.5x50.7厘米",[],{"id":1903,"slug":1904,"title":1905,"dynasty":18,"author":1906,"museum":20,"description":1907,"tags":1908,"thumbUrl":1909,"material":231,"size":1910,"collection":96,"collections":1911,"showCount":1912,"zanCount":11,"manualWeight":11,"mainColor":47},234010,"xue-jiang-mai-yu-ye-li-dong-234010","雪江卖鱼页","李东","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[24,57,170,26,27,28,29,93,92,129,36,7,615,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","纵23.6厘米,横25.2厘米",[],12,{"id":1914,"slug":1915,"title":1916,"dynasty":208,"author":1917,"museum":183,"description":1918,"tags":1919,"thumbUrl":1921,"material":96,"size":96,"collection":96,"collections":1922,"showCount":1912,"zanCount":11,"manualWeight":11,"mainColor":47},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","禹之鼎","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,24,186,27,143,30,29,1920,313,1381,36,7,31,93,33],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":1924,"slug":1925,"title":1926,"dynasty":208,"author":1927,"museum":472,"description":1928,"tags":1929,"thumbUrl":1930,"material":77,"size":96,"collection":64,"collections":1931,"showCount":1912,"zanCount":11,"manualWeight":11,"mainColor":47},219565,"zong-tai-xian-sheng-xiang-weng-pu-219565","宗台先生像","翁溥","这幅作品将肖像与山水相融，老者安坐岩边，宽袍素简，神态恬然萧散，尽显林下风雅。\n\n远景以淡赭晕染层叠远山，留白晕出空濛烟岚，山泉淙淙汇为浅滩，笔墨简淡清润，铺展出幽寂的林泉之境。近处枯梅虬枝缀着新花，冷艳古拙，以花衬人，暗合隐士品格。\n\n题跋错落排布于留白间，书画交融，文气盎然。整体设色浅雅，既有写实的仪态刻画，又具文人山水的写意空寂，将人物品格与山水雅境相融，尽显幽居烟霞、寄情林泉的雅趣。",[24,27,59,30,29,32,118,7,36,269,28,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787190354729f802d662daa810046371.jpg",[64],{"id":1933,"slug":1934,"title":1935,"dynasty":1618,"author":1619,"museum":167,"description":1936,"tags":1937,"thumbUrl":1938,"material":96,"size":96,"collection":43,"collections":1939,"showCount":1912,"zanCount":110,"manualWeight":11,"mainColor":1940},202975,"shan-shui-ren-wu-tu-ce-pu-ru-202975","山水人物图册","画面以水墨写意铺展山林清寂之境。枯树虬枝盘曲，笔触苍劲，尽展老木经霜之态；山石以淡墨皴染，层次叠现，间缀浓墨点苔，暗添生机。远处峰峦隐现，崖巅小屋孑立，似藏幽人逸趣。近景小桥横跨，桥下流水隐约，意境悠远。整幅笔墨简淡却意韵醇厚，尽显文人山水的雅致空灵，于方寸册页间见天地之阔。",[24,26,29,7,36,60,28,58,104,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd974a8a6c4ac6e4df3340df18bc8586.jpg",[43],"d5c7be",{"id":1942,"slug":1943,"title":1944,"dynasty":86,"author":1945,"museum":183,"description":1946,"tags":1947,"thumbUrl":1948,"material":329,"size":330,"collection":96,"collections":1949,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":68},290961,"chun-shan-tu-yang-wei-zhen-290961","春山图","杨维桢","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[91,24,57,25,26,28,29,36,7,60,31,32,187,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd696a9a640e58d489c6025ffdf5ab093.jpg",[],11,{"id":1952,"slug":1953,"title":1954,"dynasty":52,"author":670,"museum":183,"description":1955,"tags":1956,"thumbUrl":1957,"material":329,"size":330,"collection":96,"collections":1958,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":68},235792,"gu-mu-shuang-qin-tu-shan-chen-hong-shou-235792","古木双禽图扇","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[507,24,57,26,27,7,36,255,254,32,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6700ebd2e30728259bed45f2fc5916.jpg",[],{"id":1960,"slug":1961,"title":51,"dynasty":208,"author":290,"museum":54,"description":1962,"tags":1963,"thumbUrl":1964,"material":27,"size":1965,"collection":43,"collections":1966,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":68},223456,"shan-shui-tu-yi-ming-223456","此作用笔秀逸简淡，远近层次疏朗分明。近岸枯木虬枝错落，皴石朴拙苍劲，涧水隐于石间，暗写潺湲之态。中景扁舟一叶，幽人披氅凭舷，随波独往，水色以留白晕出烟霭空濛之境，将冬末春初的清寂弥散纸面。远景山峦轻勾淡染，与空茫水面相融，愈发衬出天地辽远。题诗与画意呼应，诗画相生，把文人寄迹林泉、避世悠游的隐逸襟怀铺陈尽致，整体气韵清冷淡远，尽显幽隽的古典山水文人意趣。",[23,24,26,28,27,187,106,29,92,30,7,36,32,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe496c200c21a39d397d49e0d8fbb32c1.jpg","纵23厘米 横24.8厘米",[43],{"id":1968,"slug":1969,"title":1970,"dynasty":208,"author":1971,"museum":167,"description":1972,"tags":1973,"thumbUrl":1974,"material":96,"size":96,"collection":258,"collections":1975,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":1976},201992,"ku-mu-qu-yu-tu-zhou-zhou-shi-biao-201992","枯木鸜鹆图轴","周士标","墨色晕染间，鸜鹆独立枯枝，羽翅浓淡相叠如泼墨流云，眼瞳点金似藏清光。枯枝以干笔皴擦，虬枝盘曲，线条苍劲见老木风霜。鸟之灵动与枝之古拙相映，寥寥数笔尽得生机。题跋行书流畅，诗画相融，笔墨简括却韵味悠长，素绢之上凝住清寂傲然之态，尽显文人画的意趣与风骨。",[24,26,255,7,36,254,28,188,106,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd1041b828af381d0dfaabcd38331ff2.jpg",[258],"9d774d",{"id":1978,"slug":1979,"title":1980,"dynasty":18,"author":290,"museum":54,"description":1677,"tags":1981,"thumbUrl":1982,"material":1983,"size":1984,"collection":96,"collections":1985,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":47},231345,"xiao-han-lin-tu-yi-ming-231345","小寒林图",[24,57,26,28,29,7,36,104,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b96fc4e45788828c7ba9d17162640.jpg","轴","该幅42.2x49.2公分；全幅66.5公分",[],10,{"id":1988,"slug":1989,"title":1990,"dynasty":208,"author":1991,"museum":183,"description":1992,"tags":1993,"thumbUrl":1994,"material":96,"size":96,"collection":96,"collections":1995,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":68},231007,"jing-fu-si-qi-dong-jing-tu-ce-qian-wei-cheng-231007","景敷四气 冬景图册","钱维城","枯淡笔墨晕开冬江暮色，寒林褪尽翠色，虬枝错斜舒展，寒鸦点点划破空寂长空，将冬日萧索铺陈开来。\n浅滩水渚以留白衬出清寒水色，坡岸孤屋隐在垂柳之后，冷寂里暗揣一丝烟火温意。右上角题诗与画境交融，以书入画，把冬日荒寒中幽宁安然的意趣娓娓道来。\n全作不施重彩，以水墨浓淡分出层次，笔法秀雅松灵，于极简笔触中烘托出清旷淡远的冬日氛围，将寒冬里的静谧深致藏在留白与枯笔之间，尽显文人山水寄情于景的雅致意韵。",[24,91,58,26,28,29,36,254,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd21f0527ff8d6f1d7dc494b66317c6.jpg",[],{"id":1997,"slug":1998,"title":1999,"dynasty":208,"author":2000,"museum":183,"description":2001,"tags":2002,"thumbUrl":2003,"material":96,"size":96,"collection":96,"collections":2004,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":68},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","祝昌","此作用笔简净松灵，取法倪氏平远意趣，绘就萧疏清旷的深秋丘壑。近岸枯木疏槎清瘦劲挺，枝桠寥寥，带着深秋荒寒之气。远山以淡墨轻扫勾勒，轮廓柔和简淡，留白水面悠悠延展，将空寂意境铺陈开来，林麓石畔的隐舍萧然出尘，不见烟火气。全幅笔墨淡逸清润，不作繁复皴染，以极简形制传递静穆萧散的文人雅韵，将倪画天真幽淡的冷寂气质得韵传神，尽写郊野秋意的疏朗空荒，藏着对枯淡美学的精准追摹与悠远体悟。",[23,24,26,28,213,25,29,7,36,104,93,37,309,461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":2006,"slug":2007,"title":2008,"dynasty":208,"author":2009,"museum":54,"description":2010,"tags":2011,"thumbUrl":2012,"material":936,"size":2013,"collection":96,"collections":2014,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":68},223104,"duan-qiao-can-xue-tu-dong-bang-da-223104","断桥残雪图","董邦达","《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。”",[23,24,57,29,27,28,106,60,34,7,36,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8dfcaeca894047302a2b5b6fcbb4d6.jpg","133x66cm",[],{"id":2016,"slug":2017,"title":1485,"dynasty":208,"author":471,"museum":167,"description":2018,"tags":2019,"thumbUrl":2021,"material":96,"size":96,"collection":96,"collections":2022,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":2023},203462,"shan-shui-ce-kun-can-203462","笔墨苍莽间，山峦叠嶂隐现，枯木枝干虬曲，屋舍错落于林麓间，似藏幽居之趣。干笔皴擦与湿墨晕染相济，线条朴拙富张力，墨色层次丰富，尽显山川浑厚之气。留白处意蕴悠远，仿佛山间云气流动，静谧深邃中，藏着画家对自然心性的体悟。画面虽简，却于简淡中见沉雄，于疏野中含真意，尽显文人山水的笔墨情韵。",[91,24,57,58,26,28,29,32,37,7,36,2020],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2e7a9ed10d1569394c4cf2e7b5455f.jpg",[],"9594a1",{"id":2025,"slug":2026,"title":2027,"dynasty":52,"author":2028,"museum":183,"description":2029,"tags":2030,"thumbUrl":2032,"material":329,"size":330,"collection":96,"collections":2033,"showCount":2034,"zanCount":11,"manualWeight":11,"mainColor":68},290621,"qi-xia-shan-tu-zhou-zhang-hong-290621","栖霞山图轴","张宏","此图绘南京“栖霞山”之景。山峰挺拔雄伟，松柏苍翠遒劲，寺庙掩于山中。画上自题：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”张宏字君度，号鹤涧，明代画家，所绘山水有宋人之意。",[91,24,57,25,29,27,26,28,34,31,1466,7,36,614,32,1352,2031],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a87d7db47bf09af8cf9f0dfd34da7d.jpg",[],9,{"id":2036,"slug":2037,"title":2038,"dynasty":208,"author":303,"museum":54,"description":2039,"tags":2040,"thumbUrl":2041,"material":62,"size":2042,"collection":96,"collections":2043,"showCount":2034,"zanCount":11,"manualWeight":11,"mainColor":68},287446,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-wang-hui-287446","仿李营丘江干七树图","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。”",[91,24,57,26,29,213,106,187,36,7,93,92,309,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff309a0ed55d56fb2162e84b4c23405c5.jpg","96.4x54.6",[],{"id":2045,"slug":2046,"title":2047,"dynasty":52,"author":2048,"museum":183,"description":2049,"tags":2050,"thumbUrl":2051,"material":329,"size":330,"collection":96,"collections":2052,"showCount":2034,"zanCount":11,"manualWeight":11,"mainColor":68},237407,"xi-xiang-ji-tu-shan-ye-xu-shi-xuan-237407","西厢记图扇页","徐士选","山阳人，万历戊午科。",[24,507,59,27,30,293,37,32,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f1be9ec040238119a722cae4fc4ddd.jpg",[],{"id":2054,"slug":2055,"title":1485,"dynasty":208,"author":2056,"museum":183,"description":2057,"tags":2058,"thumbUrl":2059,"material":329,"size":330,"collection":43,"collections":2060,"showCount":2034,"zanCount":11,"manualWeight":11,"mainColor":68},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。",[24,57,58,26,1043,7,104,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84b52ecab9067cdea1c447f9d70892e.jpg",[43,216],{"id":2062,"slug":2063,"title":2064,"dynasty":208,"author":2065,"museum":183,"description":2066,"tags":2067,"thumbUrl":2068,"material":96,"size":96,"collection":96,"collections":2069,"showCount":2034,"zanCount":11,"manualWeight":11,"mainColor":68},235875,"cheng-cha-zhou-cheng-sui-235875","乘槎轴","程邃","此作用笔枯涩苍劲，以一隅之景写尽江天寥廓。近岸怪石槎桠、荒木萧疏，大片留白铺陈寒江，一扁舟随波独行，远景平峦以淡墨轻扫，恍如蜃气浮空。\n\n画幅左上题满诗文，金石质感的书法与简逸山水相映，诗画合璧，将幽人避世的襟怀融于尺幅。枯笔焦墨褪去妍丽，只留清寂淡然，似将尘嚣尽数隔绝于江外，独乘浮槎，与天地沧浪对晤，尽显冷逸超迈的出世之思。",[57,24,26,29,187,106,188,28,92,7,36,32,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7604bb2aef552bc42153652a7bbcb7c5.jpg",[],{"id":2071,"slug":2072,"title":2073,"dynasty":86,"author":290,"museum":183,"description":2074,"tags":2075,"thumbUrl":2076,"material":96,"size":96,"collection":96,"collections":2077,"showCount":2034,"zanCount":11,"manualWeight":11,"mainColor":68},228192,"dong-jing-shan-shui-tu-tuan-shan-yi-ming-228192","冬景山水图团扇","此作以全景铺陈冬日丘壑，构图繁密却层次井然。山峦以苍劲的墨笔勾皴，浓淡晕染出山岩的嶙峋骨相，峰顶隐于淡墨烟霭之中，晕出隆冬空蒙萧寒的氛围。虬曲的枯木虬枝如铁，交错于山石林间，尽显冬日荒寒萧索。\n\n山坳间的幽居屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[23,24,57,507,29,28,27,7,36,309,60,93,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":2079,"slug":2080,"title":2081,"dynasty":86,"author":290,"museum":54,"description":2082,"tags":2083,"thumbUrl":2085,"material":146,"size":2086,"collection":96,"collections":2087,"showCount":2034,"zanCount":11,"manualWeight":11,"mainColor":47},223364,"han-lin-tu-zhou-yi-ming-223364","寒林图轴","在郊野，有几株老树疏落地依傍水泽而生。树叶已全凋零落尽，露出了枯乾的枝枒，有老藤缠绕垂挂著。树木坡土都以墨色渲染，更觉得阴冷萧瑟。阵阵寒风吹皱了水面，波纹似长披麻交织如鳞状，一层一层地叠列，渐淡渐远空阔无边。",[91,24,57,25,26,143,28,7,36,949,29,104,2084,35],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca2ef5a32f1edf374364dcd8a9dd9a.jpg","162.4x102.3",[],{"id":2089,"slug":2090,"title":1741,"dynasty":208,"author":2091,"museum":183,"description":2092,"tags":2093,"thumbUrl":2094,"material":96,"size":96,"collection":96,"collections":2095,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":68},235643,"shan-shui-tu-ce-wu-li-235643","吴历","此帧山水以清寂秋江为境，右侧垂柳婆娑，干笔皴擦写出老柳苍古之态，柔条细劲宛转，似带清秋寒意。左侧远山以淡墨晕染，汀渚横斜，留白作水，寥寥数笔便绘就江天寥廓的空濛之感。坡岸茅舍隐于疏林浅草间，似有幽人居于此间。\n\n画左题诗与景致相映，诗书合璧，尽显文人雅趣。整体笔墨枯润相宜，虚实相生，以极简的造境烘托出深秋江渚的萧疏闲寂，淡远幽微的意境中，寄寓着画者对清秋静境的幽怀，尽显文人山水小品简淡高逸之美。",[24,57,58,26,29,36,7,118,349,188,106,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957b3e9072675d969bf9235b59f97fd2.jpg",[],{"id":2097,"slug":2098,"title":2099,"dynasty":52,"author":2100,"museum":183,"description":2101,"tags":2102,"thumbUrl":2103,"material":96,"size":96,"collection":96,"collections":2104,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":68},234510,"gu-mu-you-huang-shan-wei-zhi-ke-234510","古木幽篁扇","魏之克","此图以枯木竹石为题材。画面近处枯树两三株高低偃仰，其旁幽篁散生，溪流宛转，远山隐隐起伏。树法用笔严谨，立干苍迈，出枝繁密，有李、郭遗意，丛竹以墨色分出远近。近处坡石多以方笔线皴，远山参用斧劈皴。画面墨色清逸，气息幽深，颇得萧疏苍茫之趣。",[24,57,507,26,7,36,394,104,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd633618a97d955bc1ac3a76a3633e224.jpg",[],{"id":2106,"slug":2107,"title":2108,"dynasty":208,"author":2109,"museum":183,"description":2110,"tags":2111,"thumbUrl":2112,"material":96,"size":96,"collection":96,"collections":2113,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":274},231364,"shen-qiu-cheng-gan-tu-wang-gai-231364","深秋撑杆图","王盖","淡墨晕开深秋清寂，寒林虬枝交错，将萧索疏朗铺满卷间。轻烟漫过林梢，晕出朦胧天际，把湿冷秋意揉进了空气里。\n\n溪上架起板桥，扁舟穿桥缓行，撑杆人垂敛神态，任流水载着小舟漫溯，隔绝了尘嚣。岸畔枯木杂丛错落，淡赭融着墨色，衬得秋水愈发清浅空阔。\n\n全作用色素净浅淡，不着浓艳，却将晚秋的沉静通透铺陈尽致。动舟与静林相映，萧索秋景晕开松弛安闲，清冷底色里藏着悠然禅意，把晚秋闲静况味细细诉尽。",[23,24,26,27,29,60,92,7,36,28,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d19d2061c64f9ac3e394db5d4f57b8.jpg",[],{"id":2115,"slug":2116,"title":2117,"dynasty":208,"author":2118,"museum":167,"description":2119,"tags":2120,"thumb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[明]字质夫，吴（今江苏苏州）人。师文嘉（一五0一―一五八三）钱谷\n为入室弟子，有出蓝之美。候懋功、朱朗之流亚。按画体元诠有金陵殳质，字质甫，工山水。是否一人，待考。《无声诗史、弇州续稿》",[24,57,58,26,143,29,7,36,104,308,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13cbd4a038b4f123be0cf94c7ef4a46.jpg",[],{"id":2211,"slug":2212,"title":1485,"dynasty":208,"author":1105,"museum":2213,"description":2214,"tags":2215,"thumbUrl":2216,"material":96,"size":96,"collection":96,"collections":2217,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":47},234103,"shan-shui-ce-wang-gai-234103","荣宝斋","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[24,57,58,26,27,29,254,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e926f8a7aebfe76f961f15d344372e0.jpg",[],{"id":2219,"slug":2220,"title":1104,"dynasty":208,"author":2221,"museum":20,"description":1106,"tags":2222,"thumbUrl":2223,"material":96,"size":96,"collection":96,"collections":2224,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},233231,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-liu-yu-233231","柳堉",[24,57,91,58,26,28,29,34,36,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd79e322948a0d5f2ab1ad1c41afc92.jpg",[],{"id":2226,"slug":2227,"title":2228,"dynasty":18,"author":290,"museum":183,"description":2229,"tags":2230,"thumbUrl":2231,"material":96,"size":96,"collection":96,"collections":2232,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":47},227840,"gu-mu-han-qin-tu-yi-ming-227840","古木寒禽图","此作为典型的宋人寒林小景。坡岸积素皴染柔和，尽显积雪蓬松厚重，古木虬曲苍劲，枯涩的枝桠皴擦老辣，将冬日林木的萧索质感勾勒尽致。枝梢立着一只寒禽，身形虽小却点染生动，孤清的身影在冷寂天地间格外醒目。\n\n对岸平沙远岫晕染朦胧，以一隅写尽冬日郊野的阔远荒寒。画面虚实相生，留白藏韵，以极简的笔墨铺展出清寂冷冽的冬日氛围，于萧索中暗藏幽微生机，含蓄传递出枯淡清远的文人意趣，尽显宋画诗意内敛的美学特质。",[23,24,57,26,27,59,28,7,36,254,32,728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239db6ca37d296151263dc36a7c2dedc.jpg",[],{"id":2234,"slug":2235,"title":2236,"dynasty":208,"author":2237,"museum":183,"description":2238,"tags":2239,"thumbUrl":2240,"material":96,"size":96,"collection":96,"collections":2241,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},224275,"shan-shui-hua-hui-ce-ba-fu-shan-224275","山水花卉冊(八)","傅山","这幅小品以浅绛晕染出清旷秋山，层叠峰峦如瘦玉排云，淡赭轻敷，尽显清峭空灵。前景枯木虬枝盘错，苍劲如龙，带着深秋的荒寒古拙，将山野萧索之气铺展开来。溪涧蜿蜒穿林，板桥横卧浅流，似能听见潺潺水声，衬出空山幽寂。\n全画笔简意足，以淡墨勾勒形神，轻施淡彩不着浓艳，将文人山水的疏朗意趣藏于尺幅之间。静穆空寂中暗含生机，无繁复皴擦却将丘壑灵韵尽数托出，寄寓着林泉高致，淡而不薄，简而有味，尽显水墨小品的隽永余韵。",[23,24,27,29,60,93,7,36,104,28,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef01adc37194acb4634f850f7a504be.jpg",[],{"id":2243,"slug":2244,"title":2245,"dynasty":208,"author":2246,"museum":183,"description":2247,"tags":2248,"thumbUrl":2254,"material":329,"size":330,"collection":96,"collections":2255,"showCount":2256,"zanCount":11,"manualWeight":11,"mainColor":47},240150,"shi-juan-yong-rong-240150","诗卷","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》。",[23,24,57,186,188,187,106,26,27,59,28,172,572,2249,1250,104,34,254,7,36,255,1252,269,394,1251,1253,1254,1055,2250,1255,1477,1256,93,2251,2252,2253,228],"月","芙蓉","镜","花","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],5,{"id":2258,"slug":2259,"title":1741,"dynasty":52,"author":2028,"museum":183,"description":2260,"tags":2261,"thumbUrl":2262,"material":329,"size":330,"collection":96,"collections":2263,"showCount":2256,"zanCount":11,"manualWeight":11,"mainColor":68},239321,"shan-shui-tu-ce-zhang-hong-239321","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。",[24,57,58,26,28,29,104,36,7,106,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd2edef713a7351041f53ee6949307.jpg",[],{"id":2265,"slug":2266,"title":2267,"dynasty":208,"author":2268,"museum":183,"description":2269,"tags":2270,"thumbUrl":2271,"material":329,"size":330,"collection":96,"collections":2272,"showCount":2256,"zanCount":11,"manualWeight":11,"mainColor":68},237730,"wu-sheng-shi-yi-tu-ce-huang-yi-237730","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。",[24,57,58,26,29,92,36,294,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb247c602951eb9730962ead73d735631.jpg",[],{"id":2274,"slug":2275,"title":1369,"dynasty":208,"author":303,"museum":183,"description":1370,"tags":2276,"thumbUrl":2277,"material":96,"size":96,"collection":96,"collections":2278,"showCount":2256,"zanCount":11,"manualWeight":11,"mainColor":68},237605,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237605",[24,57,58,26,27,29,36,32,7,187,188,106,307,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81bc2b94d2f235186ae2050f66d3ed24.jpg",[],{"id":2280,"slug":2281,"title":2282,"dynasty":208,"author":1724,"museum":183,"description":2283,"tags":2284,"thumbUrl":2285,"material":329,"size":330,"collection":96,"collections":2286,"showCount":2256,"zanCount":11,"manualWeight":11,"mainColor":68},237249,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237249","古木竹石图册","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。",[24,26,58,7,36,394,104,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7335720c416dd6f8d3c282eaabb8912d.jpg",[],{"id":2288,"slug":2289,"title":1369,"dynasty":208,"author":290,"museum":183,"description":2290,"tags":2291,"thumbUrl":2292,"material":96,"size":96,"collection":96,"collections":2293,"showCount":2256,"zanCount":11,"manualWeight":11,"mainColor":68},236066,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236066","此作用笔简淡松秀，绘就冬日郊野之景。枯木寒林错落苍劲，虬枝瘦干尽显古拙姿态，留白晕染出空濛清寂的萧疏寒意。近景板桥之上行人徐行，林麓间茅舍错落，漾出幽闲野趣。整体意境淡远萧疏，以简驭繁将郊林冬日的静谧铺陈开来，右上角题字添缀文人气韵，暗合文人寄情林泉的幽怀，尽显仿古山水的雅逸意趣，将冬日林野的清寂闲雅藏于笔墨之间。",[24,57,58,26,213,28,29,7,36,60,93,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a464c894302ac9e286789abd11005a.jpg",[],{"id":2295,"slug":2296,"title":1741,"dynasty":52,"author":2297,"museum":183,"description":2298,"tags":2299,"thumbUrl":2300,"material":329,"size":330,"collection":96,"collections":2301,"showCount":2256,"zanCount":11,"manualWeight":11,"mainColor":68},235458,"shan-shui-tu-ce-pan-zheng-235458","潘徵","潘徵 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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。",[24,57,58,27,28,188,106,29,36,294,60,93,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3cf9638cee82cd115b971a0dfd63712.jpg",[],{"id":2532,"slug":2533,"title":2534,"dynasty":52,"author":290,"museum":183,"description":2535,"tags":2536,"thumbUrl":2537,"material":96,"size":96,"collection":96,"collections":2538,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":68},236436,"shu-zhi-shan-shui-ce-yi-ming-236436","殳执山水册","此作用淡墨晕染出烟霭笼罩的空阔江面，远山含混在朦胧雾气之中，仅留浅淡轮廓，仿若将江南烟水的空茫晚景晕染开来。\n\n左下角岸渚间，细笔勾勒林木枝桠，淡点秋花晕出浅红，柔雅清新，与空茫江面形成鲜明虚实对照。留白与晕染交织，将烟水空蒙的幽寂清润尽数铺陈，再佐以清雅小字题款与朱红小印提亮画面，于简淡之中尽显萧散淡远的文人意趣，把秋日江景的静美诗意娓娓道来。",[24,57,58,26,29,7,36,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4191ed1b2b722d19090fa669dc5230f0.jpg",[],{"id":2540,"slug":2541,"title":2542,"dynasty":52,"author":2543,"museum":183,"description":2544,"tags":2545,"thumbUrl":2546,"material":96,"size":96,"collection":96,"collections":2547,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":68},235622,"fang-gu-shan-shui-ce-shen-hao-235622","仿古山水册","沈颢","此作淡墨轻岚，意韵萧疏清旷。近滩石矶错落，策杖行人徐行水畔，野趣自生。左岸篱舍山居静立，一人凭檐远望，衬出林间幽寂。远山以干笔淡墨皴擦晕染，层叠朦胧，烟岚轻笼如诗。枯木疏枝虬曲，笔墨松灵简淡，以极简皴擦写出山石肌理，晕染间尽显空濛悠远的林下意境。题跋小字清雅悠然，与山水景致浑然相融，尽显文人画崇尚的平淡天真，悠悠隐逸之思浸透纸面，藏着独有的萧散简远之美。",[24,57,58,26,213,28,29,172,572,104,7,36,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec495cb138b4f1daaa7eeafb820a626e.jpg",[],{"id":2549,"slug":2550,"title":1485,"dynasty":208,"author":2551,"museum":183,"description":2552,"tags":2553,"thumbUrl":2555,"material":329,"size":330,"collection":96,"collections":2556,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":68},235325,"shan-shui-ce-wen-dian-235325","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。 [1] 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，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,57,58,26,28,29,37,32,93,60,104,34,7,36,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d394e3188a6393c396bd36ad031d0.jpg",[],{"id":2798,"slug":2799,"title":2800,"dynasty":52,"author":2801,"museum":183,"description":2802,"tags":2803,"thumbUrl":2805,"material":96,"size":96,"collection":96,"collections":2806,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":68},233596,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233596","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。",[24,57,58,2804,27,36,7,104,31],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2a819e83abdad2eb571c86968d1fac.jpg",[],{"id":2808,"slug":2809,"title":2810,"dynasty":52,"author":2811,"museum":183,"description":2812,"tags":2813,"thumbUrl":2814,"material":414,"size":96,"collection":96,"collections":2815,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":161},217125,"shui-hu-quan-tu-67-du-jin-217125","水浒全图-67","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[91,24,57,58,143,30,36,254,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a264a2d084f0c588dcd4580d17501c.jpg",[],{"id":2817,"slug":2818,"title":1741,"dynasty":208,"author":2819,"museum":167,"description":2820,"tags":2821,"thumbUrl":2822,"material":96,"size":96,"collection":43,"collections":2823,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":2824},203420,"shan-shui-tu-ce-gao-xiang-203420","高翔","这幅画作笔墨简约，以淡墨晕染山水，线条疏朗有致。近处枯树虬枝伸展，姿态苍劲；远处山峦平缓起伏，间有飞鸟错落点缀。水面上孤舟轻漾，帆影与水波相映成趣，整体意境清寂悠远。笔墨间尽显文人画的空灵之趣，仿佛能窥见画中人寄情山水的悠然心境，于简淡中藏着深致的意蕴。",[24,26,29,92,7,36,254,58,143,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a3b5d9c6f49db1625a6ba691d37f17.jpg",[43],"cdc8c6",{"id":2826,"slug":2827,"title":2828,"dynasty":1618,"author":2829,"museum":167,"description":2830,"tags":2831,"thumbUrl":2832,"material":96,"size":96,"collection":96,"collections":2833,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":2834},203073,"wu-liang-shou-fu-tu-zhou-qiao-ben-guan-xue-203073","无量寿佛图轴","桥本关雪","画面以水墨手法绘无量寿佛趺坐之姿，线条简括却形神兼备。衣袍淡墨晕染，褶皱随势勾勒尽显质感；面部须发寥寥数笔，神情沉静肃穆似入冥思。身后淡墨圈出圆光，含蓄映现神圣气象。背景泼墨点染孤石枯藤，笔意洒脱，墨色浓淡交错，营造空灵悠远的禅意空间。整幅画作于极简中见深致，水墨虚实相生间，传递静谧祥和的宗教意蕴，尽显东方艺术的写意之美。",[26,144,30,104,7,36,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe88b5dc18d12ce992c9055643c50b8.jpg",[],"c2b9a7",{"id":2836,"slug":2837,"title":2838,"dynasty":208,"author":1724,"museum":167,"description":2839,"tags":2840,"thumbUrl":2842,"material":96,"size":96,"collection":96,"collections":2843,"showCount":110,"zanCount":11,"manualWeight":11,"mainC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