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,"屋舍","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff82bcb280b365901496be3ff0f122b.jpg","纸本,设色","84.8x21.8","山水画精选",[65],3007,20,"BDBDBD",{"id":71,"slug":72,"title":73,"dynasty":51,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":83,"material":84,"size":85,"collection":41,"collections":86,"showCount":87,"zanCount":88,"manualWeight":45,"mainColor":89},222601,"qiu-shan-yu-yin-tu-lan-ying-222601","秋山渔隐图","蓝瑛","天津博物馆","绘乡间田园景色，远处山峰高耸，山脚下农舍排列整齐，栅栏四周树木环绕；近处河面上二只棚船停泊，船尾两人对坐而谈；岸上古木黝黑挺直，深秋季节中树叶凋零。纵观整幅，山水人家，古木船只，皆赋诗情画意。",[78,23,29,36,58,79,7,35,33,59,80,37,81,82],"高清","枯树","房屋","渔乐","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc1ad696df861ebcdfbf4523c6d8135.jpg","纸本，设色","139.5x45cm",[],1533,13,"F48FB1",{"id":91,"slug":92,"title":93,"dynasty":51,"author":52,"museum":94,"description":95,"tags":96,"thumbUrl":98,"material":84,"size":99,"collection":65,"collections":100,"showCount":103,"zanCount":104,"manualWeight":45,"mainColor":69},233832,"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","北京故宫博物院","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[23,24,97,57,36,33,7,59,37,31],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纵27.8厘米，横37.3厘米",[65,101,102],"花鸟画精选","设色画精选",1120,5,{"id":106,"slug":107,"title":108,"dynasty":109,"author":110,"museum":94,"description":111,"tags":112,"thumbUrl":118,"material":119,"size":120,"collection":121,"collections":122,"showCount":124,"zanCount":125,"manualWeight":45,"mainColor":46},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","宋","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[78,23,56,57,29,58,36,33,113,59,114,38,115,116,7,117],"楼阁","古道","溪流","枯藤","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","绢本，设色","纵192.5厘米，横111厘米","宋画精选",[121,65,123],"水墨画精选",995,8,{"id":127,"slug":128,"title":129,"dynasty":51,"author":130,"museum":53,"description":131,"tags":132,"thumbUrl":133,"material":63,"size":134,"collection":135,"collections":136,"showCount":137,"zanCount":138,"manualWeight":45,"mainColor":69},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","文徵明","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[78,23,24,97,57,29,27,58,117,7,116,59,33,38,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8","人物画精选",[135],964,6,{"id":140,"slug":141,"title":142,"dynasty":51,"author":52,"museum":94,"description":143,"tags":144,"thumbUrl":145,"material":146,"size":147,"collection":135,"collections":148,"showCount":149,"zanCount":150,"manualWeight":45,"mainColor":69},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[78,23,24,25,57,58,36,82,61,37,35,7,38,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","绢本,设色","纵30.1厘米，横400.2厘米",[135,65,102],877,7,{"id":152,"slug":153,"title":154,"dynasty":155,"author":156,"museum":157,"description":158,"tags":159,"thumbUrl":160,"material":63,"size":41,"collection":135,"collections":161,"showCount":162,"zanCount":163,"manualWeight":45,"mainColor":69},214611,"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","清","喻兰","上海博物馆","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[23,24,97,29,33,34,82,37,7,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg",[135],863,4,{"id":165,"slug":166,"title":167,"dynasty":51,"author":52,"museum":168,"description":169,"tags":170,"thumbUrl":173,"material":174,"size":175,"collection":65,"collections":176,"showCount":177,"zanCount":178,"manualWeight":45,"mainColor":69},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","辽宁省博物馆","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[78,23,24,56,57,58,31,32,30,36,38,33,7,171,172],"山","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[65],763,3,{"id":180,"slug":181,"title":129,"dynasty":51,"author":52,"museum":53,"description":182,"tags":183,"thumbUrl":184,"material":63,"size":185,"collection":65,"collections":186,"showCount":187,"zanCount":178,"manualWeight":45,"mainColor":69},214745,"shan-shui-tu-shen-zhou-214745","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[23,24,56,57,58,30,31,32,36,7,61,37,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[65],653,{"id":189,"slug":190,"title":191,"dynasty":51,"author":52,"museum":53,"description":192,"tags":193,"thumbUrl":196,"material":197,"size":198,"collection":65,"collections":199,"showCount":200,"zanCount":201,"manualWeight":45,"mainColor":46},222101,"shan-shui-ce-shen-zhou-222101","山水册","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[78,23,194,24,97,57,58,36,7,37,195,81,82],"名画","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","纸本设色","37.4x58.8",[65,123],623,1,{"id":203,"slug":204,"title":129,"dynasty":205,"author":206,"museum":53,"description":207,"tags":208,"thumbUrl":210,"material":211,"size":212,"collection":65,"collections":213,"showCount":214,"zanCount":104,"manualWeight":45,"mainColor":46},214249,"shan-shui-tu-cao-zhi-bai-214249","元","曹知白","两棵松树相向而立，树枝向下延伸呈蟹爪状，是北宋时期李成和郭熙的典型画风。这幅画浓淡相间，尤其是在远处的山峰之间，淡墨层层渲染，云层模糊不清，似有似无。",[78,194,23,57,58,36,7,59,209],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57a8f96ed896461c7ff36507601cb6a.jpg","纸本,水墨","68.1x34.3",[65],602,{"id":216,"slug":217,"title":218,"dynasty":205,"author":219,"museum":53,"description":220,"tags":221,"thumbUrl":223,"material":146,"size":224,"collection":135,"collections":225,"showCount":226,"zanCount":104,"manualWeight":45,"mainColor":46},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","赵孟頫","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[78,23,24,25,28,29,33,7,36,222],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[135],533,{"id":228,"slug":229,"title":230,"dynasty":205,"author":231,"museum":232,"description":233,"tags":234,"thumbUrl":236,"material":211,"size":41,"collection":41,"collections":237,"showCount":238,"zanCount":45,"manualWeight":45,"mainColor":69},214577,"shan-shui-ce-2-wang-meng-214577","山水册-2","王蒙","私人收藏","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[194,23,24,97,57,58,36,7,59,235,30],"远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff325b98c3fa5098a784a9932e0c4b3b3.jpg",[],442,{"id":240,"slug":241,"title":129,"dynasty":109,"author":242,"museum":53,"description":243,"tags":244,"thumbUrl":246,"material":146,"size":247,"collection":65,"collections":248,"showCount":249,"zanCount":250,"manualWeight":45,"mainColor":46},214668,"shan-shui-tu-guo-zhong-shu-214668","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[23,194,36,39,35,81,79,7,37,245,60,29],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[65],412,2,{"id":252,"slug":253,"title":254,"dynasty":51,"author":52,"museum":53,"description":255,"tags":256,"thumbUrl":257,"material":211,"size":258,"collection":65,"collections":259,"showCount":260,"zanCount":138,"manualWeight":45,"mainColor":69},219522,"ce-zhang-tu-shen-zhou-219522","策杖图","本幅采三段式构图，以河水来分隔画面，前景的树石与远景的山丘相照应，构图简约，显然脱胎于倪瓒之作。",[23,24,56,57,58,36,33,171,172,37,61,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa190a0de0a4b64ed7875a8e251871f.jpg","纵159.1公分、横72.2公分",[65],406,{"id":262,"slug":263,"title":264,"dynasty":109,"author":265,"museum":53,"description":266,"tags":267,"thumbUrl":269,"material":270,"size":271,"collection":65,"collections":272,"showCount":273,"zanCount":250,"manualWeight":45,"mainColor":46},214723,"shan-ju-liu-ke-tu-xia-gui-214723","山居留客图","夏圭","该图像描绘了一块有云的岩石和一座延伸到水面的长桥。在一棵老松树下面，两个老人在森林里的房子里休息和喝酒，一个孩子和一个老妇人在治疗设备，一个仆人在担架上睡觉，一个人拿着一把古筝。这幅画的风格与明代画院的风格接近，怀疑这幅画不是真迹。山石都是用斧头凿出来的，笔法轻柔，通常用侧锋，以获得力道，但细腻和克制的程度有点欠缺，可能是出自明人模仿夏圭的风格。",[23,24,194,56,268,57,58,36,7,113,61,33,37],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687bcb8647a4f89cd2f269b229f4d848.jpg","绢本,水墨","164.7x102.8",[65,135],396,{"id":275,"slug":276,"title":277,"dynasty":109,"author":278,"museum":168,"description":279,"tags":280,"thumbUrl":283,"material":146,"size":284,"collection":101,"collections":285,"showCount":286,"zanCount":178,"manualWeight":45,"mainColor":46},216925,"han-ya-tu-li-cheng-216925","寒鸦图","李成","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[78,194,23,24,25,57,58,79,7,39,281,282,36,82,30,31,32],"寒鸦","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[101],385,{"id":288,"slug":289,"title":290,"dynasty":51,"author":291,"museum":232,"description":292,"tags":293,"thumbUrl":298,"material":146,"size":299,"collection":135,"collections":300,"showCount":301,"zanCount":138,"manualWeight":45,"mainColor":46},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","仇英","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[78,23,24,97,27,29,294,295,36,33,113,38,37,35,61,39,7,296,297,114,34,82],"界画","青绿","夕阳","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[135],376,{"id":303,"slug":304,"title":305,"dynasty":51,"author":306,"museum":307,"description":308,"tags":309,"thumbUrl":310,"material":63,"size":41,"collection":65,"collections":311,"showCount":312,"zanCount":250,"manualWeight":45,"mainColor":69},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","佚名","大英博物馆","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[78,23,24,57,29,97,36,35,39,7,82,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[65],375,{"id":314,"slug":315,"title":316,"dynasty":205,"author":317,"museum":94,"description":318,"tags":319,"thumbUrl":322,"material":84,"size":323,"collection":65,"collections":324,"showCount":325,"zanCount":125,"manualWeight":45,"mainColor":46},221710,"shan-ju-tu-qian-xuan-221710","山居图","钱选","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[78,194,23,24,25,295,29,27,58,31,30,36,171,320,172,321,61,37,80,35,82,7],"水","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[65,102],368,{"id":327,"slug":328,"title":329,"dynasty":109,"author":330,"museum":331,"description":332,"tags":333,"thumbUrl":334,"material":335,"size":41,"collection":65,"collections":336,"showCount":337,"zanCount":178,"manualWeight":45,"mainColor":69},219195,"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","牧溪","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[78,268,23,194,25,57,36,35,7,39,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[65,121],359,{"id":339,"slug":340,"title":341,"dynasty":51,"author":52,"museum":53,"description":192,"tags":342,"thumbUrl":343,"material":344,"size":345,"collection":101,"collections":346,"showCount":347,"zanCount":250,"manualWeight":45,"mainColor":69},222106,"yu-lan-shen-zhou-222106","玉兰",[78,194,23,24,97,57,29,341,7,30,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","纸本","34.8×56.5厘米",[101,102],341,{"id":349,"slug":350,"title":351,"dynasty":51,"author":52,"museum":20,"description":352,"tags":353,"thumbUrl":354,"material":355,"size":356,"collection":41,"collections":357,"showCount":358,"zanCount":250,"manualWeight":45,"mainColor":46},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","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。",[78,194,23,56,295,29,36,61,37,7,59,33,114,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg","未知","Xcm*Xcm",[],340,{"id":360,"slug":361,"title":362,"dynasty":51,"author":363,"museum":53,"description":364,"tags":365,"thumbUrl":369,"material":370,"size":371,"collection":65,"collections":372,"showCount":358,"zanCount":45,"manualWeight":45,"mainColor":46},222033,"chun-han-tu-dai-jin-222033","春酣图","戴进","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[78,23,194,36,29,58,33,321,61,37,35,7,366,59,367,368,81],"春景","云雾","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","绢本","纵291.3cm，横171.5cm",[65,102],{"id":374,"slug":375,"title":376,"dynasty":155,"author":377,"museum":94,"description":378,"tags":379,"thumbUrl":383,"material":384,"size":385,"collection":41,"collections":386,"showCount":387,"zanCount":45,"manualWeight":45,"mainColor":69},233829,"he-shi-shui-niao-tu-zhou-zhu-da-233829","荷石水鸟图轴","朱耷","图绘荷叶下一只水鸟栖于孤石上，形成全图之焦点。水鸟形状独特，单足独立，神态凄凉，它似在休憩，更似在冷眼观望这冰凉的世界。作者孤寂凄凉的处境、强烈的反清复明思想，以及面对清廷统治日益稳固而无可奈何的心境，或多或少地呈现于作品之中。",[23,57,56,380,82,381,382,7,30],"花鸟","荷","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60eb12ec5354ccf0a9bdd707a4d098.jpg","纸本，墨笔","纵127厘米，横46厘米",[],336,{"id":389,"slug":390,"title":391,"dynasty":51,"author":392,"museum":53,"description":393,"tags":394,"thumbUrl":398,"material":344,"size":399,"collection":65,"collections":400,"showCount":401,"zanCount":45,"manualWeight":45,"mainColor":46},221921,"tai-ping-chun-se-zhou-qian-gong-221921","太平春色轴","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[78,56,27,29,33,113,61,7,395,59,396,397,117,80],"庭院","孩童","炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm 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这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[78,23,24,57,82,7,424,58,30],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[123,428],"竹石精选",322,{"id":431,"slug":432,"title":129,"dynasty":205,"author":433,"museum":53,"description":434,"tags":435,"thumbUrl":436,"material":211,"size":437,"collection":65,"collections":438,"showCount":439,"zanCount":201,"manualWeight":45,"mainColor":46},214248,"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[78,205,23,24,56,57,58,36,35,7,59,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[65],317,{"id":441,"slug":442,"title":443,"dynasty":51,"author":52,"museum":444,"description":445,"tags":446,"thumbUrl":449,"material":63,"size":450,"collection":65,"collections":451,"showCount":452,"zanCount":201,"manualWeight":45,"mainColor":46},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","美国弗利尔美术馆","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[78,23,24,36,29,57,58,26,61,37,59,117,447,33,113,448,7],"瀑布","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 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所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[23,194,24,56,27,295,29,36,113,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 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厘米",[121,65,123],193,{"id":775,"slug":776,"title":282,"dynasty":109,"author":110,"museum":53,"description":777,"tags":778,"thumbUrl":781,"material":146,"size":782,"collection":65,"collections":783,"showCount":784,"zanCount":201,"manualWeight":45,"mainColor":46},218867,"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[78,23,24,29,27,36,113,33,79,779,58,780,7],"雪","边角构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[65],192,{"id":786,"slug":787,"title":788,"dynasty":51,"author":789,"museum":20,"description":790,"tags":791,"thumbUrl":793,"material":119,"size":794,"collection":101,"collections":795,"showCount":796,"zanCount":178,"manualWeight":45,"mainColor":46},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[78,194,23,24,56,29,27,380,792,7,82],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[101,102],191,{"id":798,"slug":799,"title":800,"dynasty":109,"author":585,"museum":540,"description":801,"tags":802,"thumbUrl":803,"material":804,"size":805,"collection":121,"collections":806,"showCount":807,"zanCount":250,"manualWeight":45,"mainColor":46},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[78,23,24,25,29,27,30,33,509,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 横827厘米",[121,135,102],190,{"id":809,"slug":810,"title":811,"dynasty":205,"author":812,"museum":20,"description":813,"tags":814,"thumbUrl":815,"material":41,"size":41,"collection":41,"collections":816,"showCount":817,"zanCount":45,"manualWeight":45,"mainColor":69},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","黄公望","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。",[23,24,25,57,36,58,30,31,32,59,117,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":819,"slug":820,"title":821,"dynasty":155,"author":822,"museum":53,"description":823,"tags":824,"thumbUrl":825,"material":41,"size":41,"collection":101,"collections":826,"showCount":817,"zanCount":45,"manualWeight":45,"mainColor":46},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[78,23,24,57,30,31,32,7,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[101,123],{"id":828,"slug":829,"title":830,"dynasty":205,"author":219,"museum":94,"description":831,"tags":832,"thumbUrl":833,"material":211,"size":834,"collection":65,"collections":835,"showCount":836,"zanCount":250,"manualWeight":45,"mainColor":46},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[78,23,25,57,36,58,31,61,37,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[65],188,{"id":838,"slug":839,"title":840,"dynasty":51,"author":841,"museum":20,"description":842,"tags":843,"thumbUrl":844,"material":146,"size":41,"collection":135,"collections":845,"showCount":846,"zanCount":45,"manualWeight":45,"mainColor":46},218408,"wang-xian-zhi-xiu-qi-tang-yin-218408","王献之休妻","唐寅","疏柳垂丝如诉，嶙峋山石衬出几分萧索。白衣男子立于其间，衣袂轻扬却难掩眉宇间的复杂——是决绝？还是隐于礼法下的无奈？旁侧两位女子相拥而立，罗裙轻垂，身影柔弱如风中飘絮，彼此依偎的姿态似是对命运的无声抵抗。\n\n线条流转细腻，设色淡雅却见功底，人物神情的描摹尤见匠心：男子微蹙的眉头藏着隐衷，女子低垂的眼眸裹着悲戚，连垂落的柳枝都似在替人拭泪。整幅画以景衬情，将旧闻里的礼法束缚与情长纠葛凝于笔墨间，每一处细节都在轻声诉说：那些被时光掩埋的无奈，从来都藏在人物的一颦一笑、山石草木的一呼一吸里。",[194,23,24,56,29,27,33,36,7,59,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c441d0be13c6b563da78fdded2b86c.jpg",[135],185,{"id":848,"slug":849,"title":850,"dynasty":851,"author":852,"museum":53,"description":853,"tags":854,"thumbUrl":858,"material":63,"size":859,"collection":65,"collections":860,"showCount":861,"zanCount":163,"manualWeight":45,"mainColor":46},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","五代十国","关仝","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[78,23,194,36,56,58,29,855,117,856,35,857,38,7,37],"岩石","河流","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[65],183,{"id":863,"slug":864,"title":865,"dynasty":51,"author":306,"museum":540,"description":866,"tags":867,"thumbUrl":869,"material":370,"size":870,"collection":41,"collections":871,"showCount":872,"zanCount":178,"manualWeight":45,"mainColor":46},223350,"shi-nv-tu-ce-yi-ming-223350","仕女图册","画面以仕女为主题。最早见于唐代长沙窑瓷器。宋元时期仕女图较为罕见，这与当时花鸟画盛行有很大的关系.",[78,23,24,97,29,27,33,34,297,7,82,868],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a51b5949edc9d99b29841d97b4903d4.jpg","12.7×19.1",[],181,{"id":874,"slug":875,"title":876,"dynasty":205,"author":433,"museum":157,"description":877,"tags":878,"thumbUrl":879,"material":146,"size":880,"collection":65,"collections":881,"showCount":882,"zanCount":178,"manualWeight":45,"mainColor":46},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","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。",[23,24,36,29,295,58,33,37,35,195,81,7,116,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[65],175,{"id":884,"slug":885,"title":886,"dynasty":109,"author":585,"museum":53,"description":887,"tags":888,"thumbUrl":890,"material":270,"size":891,"collection":121,"collections":892,"showCount":893,"zanCount":201,"manualWeight":45,"mainColor":46},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[78,23,24,194,36,33,82,889,7,58,57,29],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[121],171,{"id":895,"slug":896,"title":897,"dynasty":51,"author":898,"museum":94,"description":899,"tags":900,"thumbUrl":901,"material":146,"size":902,"collection":135,"collections":903,"showCount":904,"zanCount":250,"manualWeight":45,"mainColor":46},215041,"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","陈洪绶","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[78,23,194,24,56,27,29,33,79,82,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5",[135],165,{"id":906,"slug":907,"title":908,"dynasty":155,"author":909,"museum":53,"description":910,"tags":911,"thumbUrl":915,"material":63,"size":41,"collection":41,"collections":916,"showCount":904,"zanCount":201,"manualWeight":45,"mainColor":69},214859,"xie-sheng-ce-5-hua-yan-214859","写生册-5","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[23,24,97,29,912,33,7,35,913,396,914],"兼工带写","石头","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401460e042e0e8b8e2745377def9863.jpg",[],{"id":918,"slug":919,"title":920,"dynasty":51,"author":921,"museum":444,"description":922,"tags":923,"thumbUrl":926,"material":146,"size":927,"collection":101,"collections":928,"showCount":929,"zanCount":45,"manualWeight":45,"mainColor":46},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","吕纪","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[78,23,194,27,29,321,924,39,380,412,7,209,925],"鸳鸯","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[101],162,{"id":931,"slug":932,"title":933,"dynasty":51,"author":52,"museum":934,"description":935,"tags":936,"thumbUrl":937,"material":344,"size":938,"collection":41,"collections":939,"showCount":940,"zanCount":45,"manualWeight":45,"mainColor":89},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[78,23,24,97,57,58,36,33,38,7,855,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg","31.1×40.2cmx12",[],157,{"id":942,"slug":943,"title":944,"dynasty":51,"author":841,"museum":540,"description":945,"tags":946,"thumbUrl":947,"material":146,"size":948,"collection":65,"collections":949,"showCount":950,"zanCount":250,"manualWeight":45,"mainColor":46},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[78,23,24,25,57,29,36,27,58,32,30,61,37,38,113,35,39,33,7,81,114,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[65,102],153,{"id":952,"slug":953,"title":954,"dynasty":155,"author":306,"museum":444,"description":955,"tags":956,"thumbUrl":959,"material":146,"size":41,"collection":135,"collections":960,"showCount":950,"zanCount":163,"manualWeight":45,"mainColor":46},219491,"liu-yin-dou-cha-tu-yi-ming-219491","柳荫斗茶图","君德壶之所以受世人推崇，很大一部分原因是，君德脱胎于梨形，即经典脱胎于经典。\n耿宝昌先生曾在《明清瓷器鉴定》一书中谈到：“梨壶，因造型类似梨而得名。元代始烧造，其后历明、清两代，经久不衰”，是传承了几百年的经典之器。",[23,24,29,27,33,7,957,958,914,913],"器","斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5a6d9aeb8db5fa496b3792c21d17.jpg",[135],{"id":962,"slug":963,"title":964,"dynasty":205,"author":965,"museum":540,"description":966,"tags":967,"thumbUrl":970,"material":270,"size":971,"collection":101,"collections":972,"showCount":950,"zanCount":45,"manualWeight":45,"mainColor":46},214295,"han-mei-tu-wang-mian-214295","寒梅图","王冕","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[78,23,24,56,57,31,32,638,7,968,969,30],"树枝","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[101],{"id":974,"slug":975,"title":976,"dynasty":155,"author":977,"museum":20,"description":978,"tags":979,"thumbUrl":980,"material":355,"size":356,"collection":41,"collections":981,"showCount":982,"zanCount":201,"manualWeight":45,"mainColor":69},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴","恽寿平","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[23,56,194,36,638,113,61,37,35,7,31,30,29,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":984,"slug":985,"title":986,"dynasty":155,"author":457,"museum":75,"description":458,"tags":987,"thumbUrl":988,"material":63,"size":462,"collection":102,"collections":989,"showCount":990,"zanCount":163,"manualWeight":45,"mainColor":69},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然",[23,24,56,57,58,26,36,7,38,61,82,116,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg",[102],149,{"id":992,"slug":993,"title":994,"dynasty":51,"author":52,"museum":53,"description":995,"tags":996,"thumbUrl":998,"material":999,"size":1000,"collection":65,"collections":1001,"showCount":1002,"zanCount":250,"manualWeight":45,"mainColor":46},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。",[78,23,24,997,57,58,171,889,172,37,59,38,116,7,115,460],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 2cm",[65,123],147,{"id":1004,"slug":1005,"title":1006,"dynasty":109,"author":306,"museum":1007,"description":1008,"tags":1009,"thumbUrl":1011,"material":146,"size":1012,"collection":65,"collections":1013,"showCount":1002,"zanCount":250,"manualWeight":45,"mainColor":46},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[23,24,56,294,57,29,36,113,35,7,855,1010,235],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[65],{"id":1015,"slug":1016,"title":1017,"dynasty":109,"author":1018,"museum":540,"description":1019,"tags":1020,"thumbUrl":1022,"material":999,"size":1023,"collection":121,"collections":1024,"showCount":1025,"zanCount":250,"manualWeight":45,"mainColor":46},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。",[78,23,24,25,57,58,1021,36,38,116,7,82,37,35,30],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg","纵32.4厘米，横104.8厘米",[121,65,123],144,{"id":1027,"slug":1028,"title":1029,"dynasty":155,"author":1030,"museum":678,"description":1031,"tags":1032,"thumbUrl":1033,"material":146,"size":1034,"collection":101,"collections":1035,"showCount":1025,"zanCount":201,"manualWeight":45,"mainColor":46},218859,"mei-hua-tu-jin-nong-218859","梅花图","金农","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[78,23,24,56,57,638,380,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[101],{"id":1037,"slug":1038,"title":1039,"dynasty":155,"author":1040,"museum":157,"description":1041,"tags":1042,"thumbUrl":1043,"material":63,"size":1044,"collection":65,"collections":1045,"showCount":1046,"zanCount":250,"manualWeight":45,"mainColor":69},219922,"hu-tian-chun-se-tu-wu-li-219922","湖天春色图","吴历","此图描绘江南湖畔堤边的初春风光。画面上，远山清淡，湖水平静，渺无人烟，春色宜人。湖岸处柳色新绿，带雨含烟，丰姿绝妙，燕雀跃于湖面柳枝之间，又有土堤斜引，其上绿草如茵。溪水潺潺，鸟声婉转音色清新，绿柳迎风，全画面春意盎然，和谐舒畅。其构图与表现风格在当时亦十分新颖和独特。此幅是画家山水画中的代表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[23,24,194,56,29,58,36,7,37,39,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 厘米，横62.5 厘米",[65,102],140,{"id":1048,"slug":1049,"title":1050,"dynasty":51,"author":52,"museum":53,"description":1051,"tags":1052,"thumbUrl":1053,"material":63,"size":1054,"collection":101,"collections":1055,"showCount":1056,"zanCount":201,"manualWeight":45,"mainColor":69},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。",[23,194,24,56,29,481,39,116,7,380,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 30.4",[101],138,{"id":1058,"slug":1059,"title":1060,"dynasty":109,"author":265,"museum":1061,"description":1062,"tags":1063,"thumbUrl":1065,"material":146,"size":41,"collection":121,"collections":1066,"showCount":1067,"zanCount":45,"manualWeight":45,"mainColor":69},219858,"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","印第安纳波利斯艺术博物馆","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[78,23,57,58,36,35,81,39,296,7,1064,320],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[121],137,{"id":1069,"slug":1070,"title":1071,"dynasty":109,"author":1072,"museum":1073,"description":1074,"tags":1075,"thumbUrl":1077,"material":146,"size":41,"collection":101,"collections":1078,"showCount":1079,"zanCount":201,"manualWeight":45,"mainColor":89},218889,"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","上海龙美术馆","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[194,23,24,56,27,29,380,638,1076,39,116,7],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[101],136,{"id":1081,"slug":1082,"title":1083,"dynasty":51,"author":52,"museum":53,"description":1084,"tags":1085,"thumbUrl":1086,"material":1087,"size":1088,"collection":41,"collections":1089,"showCount":1090,"zanCount":250,"manualWeight":45,"mainColor":69},222108,"ming-xian-ya-ji-tu-zhou-shen-zhou-222108","名贤雅集图轴","此画设色雅淡，人物衣描粗细合度，用笔写意中带精谨。幅面狭长，山势呈“之”字形走向，益增高远平阔之感。",[78,23,24,56,29,33,36,61,37,7,58,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180750897d2f844fa69ecd89a1960845.jpg","白纸本","252.9x44.5公分",[],135,{"id":1092,"slug":1093,"title":1094,"dynasty":51,"author":52,"museum":53,"description":1095,"tags":1096,"thumbUrl":1098,"material":270,"size":1099,"collection":65,"collections":1100,"showCount":1090,"zanCount":45,"manualWeight":45,"mainColor":46},218488,"cang-ya-gao-hua-tu-shen-zhou-218488","苍崖高话图","本幅绢本仿吴镇，下笔草草若不经意，而笔极挺健。长松三株，两翁坐松下，旁置琴。背山高耸，崖下茅亭，阒然虚静。对山惟见山嘴，而小树旁出，其下横笔作水纹。经山林映衬，觉一片澄虚，如在真境。画有虽著意而不能工，草率中反饶韵致者。此幅不署年款，以书画作风而论，大约在七十岁时。",[78,23,194,56,57,58,36,38,33,7,1097,117,59],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a8a933a37400001daf47d4c1bb98a7d.jpg","149.9x77cm",[65],{"id":1102,"slug":1103,"title":1104,"dynasty":155,"author":755,"museum":20,"description":1105,"tags":1106,"thumbUrl":1107,"material":41,"size":41,"collection":41,"collections":1108,"showCount":1109,"zanCount":45,"manualWeight":45,"mainColor":69},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[194,23,24,97,57,58,36,82,7,38,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],131,{"id":1111,"slug":1112,"title":1113,"dynasty":155,"author":1114,"museum":168,"description":1115,"tags":1116,"thumbUrl":1120,"material":197,"size":1121,"collection":65,"collections":1122,"showCount":1109,"zanCount":45,"manualWeight":45,"mainColor":46},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[78,23,1117,58,29,36,117,245,856,1118,80,7,1119,209],"仿古","渔舟","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 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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。",[78,23,24,1117,29,58,36,61,37,35,7,116,80,245,1167,1168,703,1169],"杏花","春雨","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],126,{"id":1175,"slug":1176,"title":1177,"dynasty":1178,"author":1179,"museum":1180,"description":1181,"tags":1182,"thumbUrl":1186,"material":41,"size":41,"collection":41,"collections":1187,"showCount":1173,"zanCount":45,"manualWeight":45,"mainColor":69},220516,"zhong-kui-hui-jian-tu-pu-xin-she-220516","钟馗挥剑图","民国","溥心畬","龙美术馆西岸馆","画面以枯松开篇，老干蟠曲、松枝萧疏，晕染出清寂古雅的氛围。红袍钟馗虬髯戟张，怒目圆睁，按佩剑挺立，威仪赫赫震慑鬼魅。身旁青面小鬼敛神吹笛，戏谑间更衬出钟馗的刚正威严。\n\n笔墨极具文人意趣，线条凝练古拙，设色清雅沉静，红袍醒目却不俗艳，淡墨勾勒松枝小鬼，尽显空灵雅致。整作以极简笔意，将钟馗的凛然正气与幽寂古意相融，寄寓驱邪安良的传统意涵，尽显雅致国风意蕴。",[23,29,27,33,7,1183,1184,1185,30],"兵器","剑","小鬼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a4169a576aae56350305e55cb3aa56.jpg",[],{"id":1189,"slug":1190,"title":1191,"dynasty":109,"author":1192,"museum":53,"description":1193,"tags":1194,"thumbUrl":1195,"material":146,"size":1196,"collection":65,"collections":1197,"showCount":1198,"zanCount":250,"manualWeight":45,"mainColor":46},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","赵构","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[78,23,24,57,36,35,7,82,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[65],125,{"id":1200,"slug":1201,"title":1202,"dynasty":51,"author":52,"museum":20,"description":1203,"tags":1204,"thumbUrl":1209,"material":355,"size":356,"collection":41,"collections":1210,"showCount":1211,"zanCount":250,"manualWeight":45,"mainColor":69},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。",[78,194,23,1205,25,36,1206,58,31,32,30,59,117,80,37,35,38,235,1207,1208,39,61,116,7],"水墨画","文人画","近水","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":1213,"slug":1214,"title":1215,"dynasty":109,"author":1216,"museum":444,"description":1217,"tags":1218,"thumbUrl":1220,"material":146,"size":1221,"collection":121,"collections":1222,"showCount":1211,"zanCount":45,"manualWeight":45,"mainColor":46},218629,"pan-che-tu-jiang-can-218629","盘车图","江参","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[23,194,24,29,58,36,59,79,7,114,1219,1169,33,39],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","30x24",[121],{"id":1224,"slug":1225,"title":1226,"dynasty":51,"author":1227,"museum":53,"description":1228,"tags":1229,"thumbUrl":1231,"material":146,"size":1232,"collection":102,"collections":1233,"showCount":1234,"zanCount":45,"manualWeight":45,"mainColor":46},219418,"hua-niao-zhou-bian-wen-jin-219418","花鸟轴","边文进","此图绘竹、梅、雀，经营位置错落有致，鸟之姿态生动富情趣；用笔学宋朝院体勾勒填彩，设色妍丽生动。以梅竹、百雀为主题，象征吉祥瑞应。",[23,24,56,27,29,380,424,39,7,855,1230],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4928cc9b3bf2e52344cbbd9dc5bf5f65.jpg","160.1x74.2公分",[102],123,{"id":1236,"slug":1237,"title":1238,"dynasty":851,"author":1239,"museum":307,"description":1240,"tags":1241,"thumbUrl":1249,"material":146,"size":1250,"collection":101,"collections":1251,"showCount":1234,"zanCount":250,"manualWeight":45,"mainColor":46},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","黄筌","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[78,23,194,24,27,29,56,693,1242,39,1243,209,1244,7,1245,59,1246,1247,1248,565],"水禽","白鹅","岸边","枯枝","水泊","禽鸟","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[101,65],{"id":1253,"slug":1254,"title":1255,"dynasty":205,"author":575,"museum":157,"description":1256,"tags":1257,"thumbUrl":1258,"material":211,"size":41,"collection":65,"collections":1259,"showCount":1260,"zanCount":250,"manualWeight":45,"mainColor":46},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[78,23,57,24,56,28,31,58,7,424,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[65],121,{"id":1262,"slug":1263,"title":1264,"dynasty":51,"author":291,"museum":157,"descriptio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宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[56,27,29,482,1315,321,7,1316,1317,82,30],"犬","花","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","绢本 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另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[78,23,24,25,57,58,30,36,172,7,35,638,59,209,1351,33,1352,1064,588,1230,1316,321,79,1353,1354,1355,1356,413],"渔船","远岫","岸滩","船只","山间","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[65,123],111,{"id":1362,"slug":1363,"title":1364,"dynasty":109,"author":585,"museum":232,"description":1365,"tags":1366,"thumbUrl":1367,"material":146,"size":41,"collection":65,"collections":1368,"showCount":1369,"zanCount":201,"manualWeight":45,"mainColor":46},219476,"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","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。",[23,24,194,36,33,7,116,37,82,58,57,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[65],110,{"id":1371,"slug":1372,"title":277,"dynasty":109,"author":110,"museum":20,"description":1373,"tags":1374,"thumbUrl":1375,"material":146,"size":41,"collection":101,"collections":1376,"showCount":1369,"zanCount":201,"manualWeight":45,"mainColor":46},218548,"han-ya-tu-ma-yuan-218548","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。",[78,194,23,24,97,57,58,39,116,7,82,36,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[101],{"id":1378,"slug":1379,"title":1380,"dynasty":51,"author":52,"museum":1381,"description":1382,"tags":1383,"thumbUrl":1385,"material":545,"size":1386,"collection":101,"collections":1387,"showCount":1388,"zanCount":201,"manualWeight":45,"mainColor":46},222117,"chun-xuan-tu-shen-zhou-222117","椿萱图","安徽省博物馆","此画的主体为椿萱，双钩设色。图绘千年椿树高大挺拔，枝叶繁茂；树下奇石玲珑，兰草丛生；萱草清柔透明，婀娜多姿；花朵妍丽娇嫩，宛如美女横波微盼。图右上角行书自题七律一首曰：“灵椿寿及八千岁，萱草同生寿亦同。白发高堂进春酒，凤凰飞下影云中。沈周”钤朱文 “沈氏启南”印、白文 “白石翁”印。沈周是个孝子，51岁时其父去世，一直留家照顾母亲，这也是他多次婉辞出仕的理由。其母99岁去世后，他多次创作思萱题材以怀念母亲。\n古代传说大椿长寿，庄子曾经说过“上古有大椿者，以八千岁为春，八千岁为秋”，可见它有多么长寿。因此古人就把它拿来比喻父亲，盼望父亲像大椿一样长生不老。后来为一切男性长辈祝寿，都尊称对方为“椿寿”。又因为当年孔子的儿子孔鲤怕打扰父亲思考问题，“趋庭而过”，快步走过自家的庭院，因此古人就把“椿”和“庭”合起来称“椿庭”，称父亲为“椿庭”。古人不单独把父亲称为“椿”，那毕竟是一棵树，而是称为“椿庭”。将“椿”、“萱”合称“椿萱”即代指父母，父母都健在称为“椿萱并茂”，前引“堂上椿萱雪满头”的诗句就是形容父母都老了，头发都白了。",[78,23,29,27,7,1384,82],"萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa835837569826e86e816c94d9ef1b7d0.jpg","纵170.9厘米，横92.8厘米",[101,102],109,{"id":1390,"slug":1391,"title":1392,"dynasty":1178,"author":1393,"museum":1394,"description":1395,"tags":1396,"thumbUrl":1404,"material":41,"size":41,"collection":41,"collections":1405,"showCount":1406,"zanCount":201,"manualWeight":45,"mainColor":69},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","张大千","四川博物院","此作用淡墨铺就清寂意境，右侧枯木虬劲苍古，枝桠错落间漫出萧索秋意。嶙峋湖石立在一旁，苔痕轻缀，晕开幽幽古意。\n\n榻上主人眉目疏朗静和，正浸在书卷意趣里神游，身侧侍童垂首伫立，一室安闲自适。案头笔墨横陈，暗合读书主题。\n\n左上角题笔行书舒展雅致，书画相映，文气暗生。全幅以水墨淡绘，摒去浓丽敷色，以极简笔触勾勒人物情态与周遭景致，将贤士沉湎诗书、物我两忘的静穆心境，晕染得淋漓尽致，尽显林下雅逸风流。",[78,23,24,56,57,27,33,82,7,1397,1398,1399,1400,1401,1402,1403],"典籍","笔","墨","纸","砚","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],108,{"id":1408,"slug":1409,"title":1410,"dynasty":109,"author":110,"museum":1411,"description":1412,"tags":1413,"thumbUrl":1414,"material":146,"size":1415,"collection":101,"collections":1416,"showCount":1406,"zanCount":250,"manualWeight":45,"mainColor":664},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。",[78,194,23,24,57,29,36,638,82,116,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[101,65],{"id":1418,"slug":1419,"title":1420,"dynasty":109,"author":1421,"museum":1422,"description":1423,"tags":1424,"thumbUrl":1425,"material":146,"size":1426,"collection":121,"collections":1427,"showCount":1406,"zanCount":45,"manualWeight":45,"mainColor":69},218643,"yue-xia-yu-she-tu-gu-liang-218643","月下渔舍图","顾亮","耶鲁大学艺术博物馆","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[78,23,194,24,36,29,297,81,35,7,59,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[121],{"id":1429,"slug":1430,"title":1431,"dynasty":155,"author":377,"museum":20,"description":1432,"tags":1433,"thumbUrl":1434,"material":355,"size":356,"collection":41,"collections":1435,"showCount":1436,"zanCount":45,"manualWeight":45,"mainColor":69},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[78,23,194,56,57,380,7,39,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],107,{"id":1438,"slug":1439,"title":1440,"dynasty":109,"author":306,"museum":540,"description":1441,"tags":1442,"thumbUrl":1444,"material":1445,"size":1446,"collection":121,"collections":1447,"showCount":1448,"zanCount":201,"manualWeight":45,"mainColor":46},223647,"guan-pu-tu-yi-ming-223647","观瀑图","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[78,23,24,997,29,58,59,447,38,321,37,1443,7,61],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[121,65],106,{"id":1450,"slug":1451,"title":1452,"dynasty":155,"author":406,"museum":1453,"description":1454,"tags":1455,"thumbUrl":1457,"material":545,"size":1458,"collection":101,"collections":1459,"showCount":1448,"zanCount":201,"manualWeight":45,"mainColor":46},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[78,194,23,24,27,29,509,1456,7,855,914,1230],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","横62厘米，纵115.1厘米",[101,102],{"id":1461,"slug":1462,"title":1463,"dynasty":109,"author":1464,"museum":20,"description":1465,"tags":1466,"thumbUrl":1467,"material":146,"size":1468,"collection":121,"collections":1469,"showCount":1448,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,24,56,57,58,36,321,116,7,33,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[121],{"id":1471,"slug":1472,"title":1473,"dynasty":109,"author":306,"museum":232,"description":1474,"tags":1475,"thumbUrl":1476,"material":146,"size":1477,"collection":65,"collections":1478,"showCount":1448,"zanCount":178,"manualWeight":45,"mainColor":46},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[23,24,997,58,29,171,117,61,113,59,33,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[65],{"id":1480,"slug":1481,"title":1482,"dynasty":851,"author":1239,"museum":1483,"description":1484,"tags":1485,"thumbUrl":1486,"material":146,"size":1487,"collection":101,"collections":1488,"showCount":1448,"zanCount":201,"manualWeight":45,"mainColor":46},216746,"xie-sheng-yuan-yang-tu-huang-quan-216746","写生鸳鸯图","费城艺术博物馆","画面描绘了一棵古老的梅花树，枝干粗壮，梅花枝条细长，树下有一丛绿竹；右下方是一对羽毛鲜艳的鸳鸯，一只蹲在地上，扭曲的头和嘴藏在羽毛中。",[23,24,530,27,29,380,924,7,1245,638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5310b6859685fde5b35c131cf676e.jpg","23.6x24.2cm",[101],{"id":1490,"slug":1491,"title":1492,"dynasty":205,"author":219,"museum":53,"description":422,"tags":1493,"thumbUrl":1494,"material":1087,"size":1495,"collection":123,"collections":1496,"showCount":1497,"zanCount":178,"manualWeight":45,"mainColor":46},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图",[78,23,24,56,57,58,32,30,7,82,424,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[123,428],105,{"id":1499,"slug":1500,"title":1501,"dynasty":109,"author":306,"museum":53,"description":1502,"tags":1503,"thumbUrl":1504,"material":146,"size":41,"collection":65,"collections":1505,"showCount":1497,"zanCount":163,"manualWeight":45,"mainColor":46},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 中的一幅画。",[78,194,23,24,57,58,116,7,424,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[65],{"id":1507,"slug":1508,"title":1509,"dynasty":205,"author":812,"museum":20,"description":1510,"tags":1511,"thumbUrl":1512,"material":355,"size":356,"collection":41,"collections":1513,"showCount":1514,"zanCount":45,"manualWeight":45,"mainColor":69},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[194,23,24,56,57,58,36,38,61,37,7,59,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":1516,"slug":1517,"title":1518,"dynasty":205,"author":965,"museum":53,"description":1519,"tags":1520,"thumbUrl":1522,"material":270,"size":1523,"collection":41,"collections":1524,"showCount":1525,"zanCount":201,"manualWeight":45,"mainColor":46},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[78,23,24,56,57,1521,7,82,30,31],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],103,{"id":1527,"slug":1528,"title":1529,"dynasty":205,"author":575,"museum":540,"description":1530,"tags":1531,"thumbUrl":1533,"material":370,"size":1534,"collection":65,"collections":1535,"showCount":1525,"zanCount":45,"manualWeight":45,"mainColor":69},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[78,23,24,56,57,997,58,79,7,82,36,235,1532],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[65,123],{"id":1537,"slug":1538,"title":1539,"dynasty":51,"author":1540,"museum":53,"description":1541,"tags":1542,"thumbUrl":1543,"material":146,"size":1544,"collection":101,"collections":1545,"showCount":1546,"zanCount":201,"manualWeight":45,"mainColor":46},218791,"ba-bai-chang-chun-tu-zhou-zhi-mian-218791","八百长春图","周之冕","群鸟聚于虬枝间，动静交织成趣。或振翅俯冲，羽翼翻飞带起风意；或引颈相鸣，喙张似闻啁啾之声；或敛翼静栖，黑亮羽色衬暖褐底色，浓淡墨痕晕染出羽毛层次。虬枝蜿蜒，叶芽点缀其间，野趣盎然。整幅画面鲜活生动，鸟的姿态各异却和谐相融，似捕捉了林间一瞬的热闹场景，墨色与绢本底色相映成辉，尽显自然生机与笔墨意趣。",[78,23,194,24,56,27,380,39,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ed05d03aaa2f92e4f07cd2b388aa.jpg","111.8x50cm",[101],102,{"id":1548,"slug":1549,"title":1550,"dynasty":205,"author":1551,"museum":53,"description":1552,"tags":1553,"thumbUrl":1554,"material":270,"size":1555,"collection":65,"collections":1556,"showCount":1546,"zanCount":45,"manualWeight":45,"mainColor":69},218763,"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","吴镇","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[78,23,24,57,58,36,37,35,61,59,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[65],{"id":1558,"slug":1559,"title":1560,"dynasty":205,"author":1561,"museum":94,"description":1562,"tags":1563,"thumbUrl":1565,"material":211,"size":1566,"collection":65,"collections":1567,"showCount":1546,"zanCount":178,"manualWeight":45,"mainColor":69},218307,"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[23,24,57,58,36,235,1564,7,59,37,448,30],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[65],{"id":1569,"slug":1570,"title":1571,"dynasty":205,"author":575,"museum":53,"description":1572,"tags":1573,"thumbUrl":1575,"material":211,"size":1576,"collection":65,"collections":1577,"showCount":1578,"zanCount":201,"manualWeight":45,"mainColor":69},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[194,23,24,56,57,36,7,38,61,37,30,31,1574],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[65],101,{"id":1580,"slug":1581,"title":1582,"dynasty":109,"author":110,"museum":1583,"description":1584,"tags":1585,"thumbUrl":1586,"material":146,"size":1587,"collection":135,"collections":1588,"showCount":1578,"zanCount":250,"manualWeight":45,"mainColor":664},218833,"mu-tong-tu-ma-yuan-218833","牧童图","出光美术馆","老牛角弯似新月，驮着披蓑牧童缓行，身后小牛甩尾蹑踪，蹄印在软泥上拓出浅浅纹路。虬枝垂叶筛下碎金，落在牛背与牧童发梢。牧童半倚牛颈，或眯眼听风，或逗弄草茎，全然不觉时光轻淌。笔墨简淡却藏烟火气，江南田埂的闲逸凝于绢素皴擦间——无喧嚣，唯牛鸣与风声，是宋时寻常田园，亦是最动人的归心处。\n\n（注：文案以画面细节为引，用比喻与动态描写交织，将田园闲逸具象化，贴合宋画“以小见大”的意境，语言凝练且富有画面感，适配展览介绍场景。）",[78,23,24,29,27,33,1169,7,482,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce337b6d511acdc8cad7304f75a2012e.jpg","22.1x24.2cm",[135],{"id":1590,"slug":1591,"title":1592,"dynasty":51,"author":52,"museum":20,"description":1593,"tags":1594,"thumbUrl":1595,"material":355,"size":356,"collection":41,"collections":1596,"showCount":1597,"zanCount":250,"manualWeight":45,"mainColor":69},228824,"san-zi-tu-shen-zhou-228824","三梓图","此图绘梓树三棵，树下二高士漫步对谈，三树排列得当，用笔浑然无迹，人物几笔勾勒，极显“粗沈”之功力。",[78,23,24,56,57,58,32,30,33,7,39,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50afdc956c6c0467cbc2cece7598519d.jpg",[],100,{"id":1599,"slug":1600,"title":1601,"dynasty":51,"author":1602,"museum":53,"description":1603,"tags":1604,"thumbUrl":1605,"material":370,"size":1606,"collection":65,"collections":1607,"showCount":1597,"zanCount":163,"manualWeight":45,"mainColor":46},221974,"gu-mu-han-quan-tu-zhou-wen-zheng-ming-221974","古木寒泉图轴","文徴明","一松一柏，相旁而生。柏树老干分披，杈枒四出；其后松树两干并伸，参云直上。背景石壁与松柏紧贴，塞地漫天，几无余地，忽于绝高处界出飞泉一道，数折而下，遂使通幅于紧迫繁复之中，遽尔空灵疏朗，确为神来之笔。",[78,23,56,57,29,58,36,7,37,59,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84d499504792f62282c466eaa4ed0af.jpg","194.1x59.3cm",[65,102],{"id":1609,"slug":1610,"title":1611,"dynasty":109,"author":265,"museum":540,"description":1612,"tags":1613,"thumbUrl":1614,"material":1615,"size":1616,"collection":121,"collections":1617,"showCount":1597,"zanCount":45,"manualWeight":45,"mainColor":46},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[78,23,24,57,36,37,35,195,81,7,82,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","绢本水墨","23.2x23.8厘米",[121,65,102],{"id":1619,"slug":1620,"title":1621,"dynasty":109,"author":1018,"museum":20,"description":1622,"tags":1623,"thumbUrl":1624,"material":355,"size":356,"collection":41,"collections":1625,"showCount":1626,"zanCount":45,"manualWeight":45,"mainColor":46},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","秋山行旅图","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[78,194,23,56,997,57,58,36,113,61,37,35,39,116,7,59,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":1628,"slug":1629,"title":1630,"dynasty":205,"author":1551,"museum":53,"description":1631,"tags":1632,"thumbUrl":1633,"material":211,"size":1634,"collection":41,"collections":1635,"showCount":1626,"zanCount":178,"manualWeight":45,"mainColor":46},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[194,23,24,56,57,36,37,35,7,30,31,58,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],{"id":1637,"slug":1638,"title":1639,"dynasty":155,"author":1640,"museum":736,"description":1641,"tags":1642,"thumbUrl":1644,"material":211,"size":1645,"collection":65,"collections":1646,"showCount":1626,"zanCount":45,"manualWeight":45,"mainColor":69},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","弘仁","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[23,24,97,57,58,36,171,1643,117,235,367,82,7],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[65],{"id":1648,"slug":1649,"title":1650,"dynasty":205,"author":219,"museum":20,"description":1651,"tags":1652,"thumbUrl":1654,"material":355,"size":356,"collection":41,"collections":1655,"showCount":1656,"zanCount":201,"manualWeight":45,"mainColor":46},290152,"xi-yuan-ya-ji-tu-zhao-meng-fu-290152","西园雅集图","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。",[194,23,56,29,33,38,7,1653,31,395,59,117],"文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01d13b76618e140a15986919f4a5c225.jpg",[],98,{"id":1658,"slug":1659,"title":1660,"dynasty":51,"author":735,"museum":53,"description":1661,"tags":1662,"thumbUrl":1663,"material":344,"size":1664,"collection":41,"collections":1665,"showCount":1666,"zanCount":45,"manualWeight":45,"mainColor":69},231955,"lin-ni-zan-dong-gang-cao-tang-tu-dong-qi-chang-231955","临倪瓒东岗草堂图","可知题识，董其昌于崇祯二年（1629）夏天临写倪瓒〈东冈草堂〉图，同时抄录画上倪瓒与张雨的原题。研究倪瓒早期画迹时，亦有引用此辅作为 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。",[23,24,57,26,58,36,7,116,38,37,82,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],97,{"id":1668,"slug":1669,"title":1670,"dynasty":51,"author":363,"museum":444,"description":1671,"tags":1672,"thumbUrl":1674,"material":63,"size":1675,"collection":65,"collections":1676,"showCount":1666,"zanCount":45,"manualWeight":45,"mainColor":69},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[78,23,24,25,57,29,36,58,81,35,39,7,37,59,1673,195,38,117],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[65,102],{"id":1678,"slug":1679,"title":1680,"dynasty":51,"author":52,"museum":934,"description":935,"tags":1681,"thumbUrl":1683,"material":344,"size":938,"collection":41,"collections":1684,"showCount":1666,"zanCount":45,"manualWeight":45,"mainColor":46},220057,"hu-qiu-shi-er-jing-tu-ce-10-shen-zhou-220057","虎丘十二景图册-10",[78,23,57,97,58,36,113,38,33,7,59,1682],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f836dd69318d68368bdc55aed70842.jpg",[],{"id":1686,"slug":1687,"title":1688,"dynasty":205,"author":219,"museum":53,"description":1689,"tags":1690,"thumbUrl":1693,"material":270,"size":1694,"collection":1695,"collections":1696,"showCount":1666,"zanCount":201,"manualWeight":45,"mainColor":69},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[194,23,24,31,56,32,57,36,1691,7,1692,37],"桃花","孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7","书法精选",[1695],{"id":1698,"slug":1699,"title":1700,"dynasty":1178,"author":1701,"museum":1702,"description":1703,"tags":1704,"thumbUrl":1705,"material":1706,"size":41,"collection":41,"collections":1707,"showCount":1708,"zanCount":45,"manualWeight":45,"mainColor":69},220577,"bin-hong-mo-miao-huang-bin-hong-220577","宾虹墨妙","黄宾虹","中央美术学院美术馆","这幅山水以双峰对峙构景，留白作水湾，山麓渔村茅舍错落，滩头枯木虬曲苍劲，水面扁舟轻泛，野逸之趣扑面而来。\n\n以焦墨积墨写山，皴擦点染间尽显山峦浑厚华滋，墨色浓淡相生，带着萧疏清寂的冬日况味，将山川静穆幽深藏于笔底。题款行书朴拙苍劲，与画面浑融一体，文人意趣尽显。整体意境清寂淡远，于简淡中见苍茫，寥寥数笔便勾勒出山水灵秀静谧，尽显水墨写意的通透韵致，藏着独有的山水襟怀。",[23,24,57,58,36,35,7,80,856,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdef6faf38959b0a429a84507d8f8ac0.jpg","墨笔设色、 纸本水墨",[],96,{"id":1710,"slug":1711,"title":1712,"dynasty":155,"author":1713,"museum":1714,"description":1715,"tags":1716,"thumbUrl":1718,"material":211,"size":1719,"collection":101,"collections":1720,"showCount":1721,"zanCount":45,"manualWeight":45,"mainColor":69},216113,"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","旅顺博物馆","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[78,23,194,57,481,58,56,7,321,1717,39,380],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[101],95,{"id":1723,"slug":1724,"title":1725,"dynasty":155,"author":1726,"museum":540,"description":1727,"tags":1728,"thumbUrl":1729,"material":211,"size":41,"collection":65,"collections":1730,"showCount":1731,"zanCount":201,"manualWeight":45,"mainColor":69},219711,"fang-ju-ran-xi-shan-gao-shi-tu-wang-jian-219711","仿巨然溪山高士图","王鉴","《仿巨然溪山高士图轴》是王鉴的一副临摹宋朝著名画僧巨然和尚的古山水画。王鉴擅长临摹古人之画，功底深厚，巨然是他非常推崇的北宋大家，他一生中摹仿巨然的作品非常多，巨然的画风淡墨轻岚，风韵秀润。此图上款识：“巨然《溪山高士图》来自内府，为大司空刘敬仲先生所藏。余在长安时曾见过，今不知流落谁手。雨窗闲坐，思其意为之，不求其形似也。王鑑。",[78,23,57,58,26,56,36,113,82,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[65],94,{"id":1733,"slug":1734,"title":1735,"dynasty":51,"author":291,"museum":700,"description":1736,"tags":1737,"thumbUrl":1739,"material":119,"size":1740,"collection":65,"collections":1741,"showCount":1742,"zanCount":45,"manualWeight":45,"mainColor":46},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[78,23,27,29,294,36,113,33,7,172,681,1738],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[65,102],91,{"id":1744,"slug":1745,"title":1746,"dynasty":205,"author":1551,"museum":20,"description":1747,"tags":1748,"thumbUrl":1751,"material":41,"size":41,"collection":41,"collections":1752,"showCount":1753,"zanCount":45,"manualWeight":45,"mainColor":46},228011,"yu-fu-tu-wu-zhen-228011","渔父图","《渔父图》是元代画家 创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[78,23,57,58,56,36,35,1749,79,7,59,235,209,117,1750],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],90,{"id":1755,"slug":1756,"title":1757,"dynasty":155,"author":977,"museum":53,"description":1758,"tags":1759,"thumbUrl":1760,"material":344,"size":1761,"collection":65,"collections":1762,"showCount":1753,"zanCount":201,"manualWeight":45,"mainColor":69},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","《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。",[78,23,24,56,57,58,26,7,424,82,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[65,123],{"id":1764,"slug":1765,"title":1766,"dynasty":155,"author":1114,"museum":94,"description":1767,"tags":1768,"thumbUrl":1770,"material":211,"size":1771,"collection":65,"collections":1772,"showCount":1753,"zanCount":201,"manualWeight":45,"mainColor":69},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[78,23,24,56,57,58,36,33,321,447,59,681,37,7,1769],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[65],{"id":1774,"slug":1775,"title":1776,"dynasty":51,"author":921,"museum":1777,"description":1778,"tags":1779,"thumbUrl":1783,"material":545,"size":1784,"collection":101,"collections":1785,"showCount":1786,"zanCount":201,"manualWeight":45,"mainColor":46},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","浙江省博物馆","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[78,23,24,56,29,27,380,638,1780,1781,1782,7,855],"山茶","雉鸡","鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[101,102],87,{"id":1788,"slug":1789,"title":1790,"dynasty":51,"author":1791,"museum":94,"description":1792,"tags":1793,"thumbUrl":1794,"material":211,"size":1795,"collection":65,"collections":1796,"showCount":1786,"zanCount":45,"manualWeight":45,"mainColor":89},220395,"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[78,23,24,56,57,58,321,59,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[65,123],{"id":1798,"slug":1799,"title":1800,"dynasty":205,"author":433,"museum":53,"description":1801,"tags":1802,"thumbUrl":1806,"material":146,"size":1807,"collection":65,"collections":1808,"showCount":1786,"zanCount":178,"manualWeight":45,"mainColor":69},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[78,23,57,36,58,37,35,195,38,7,61,1208,1803,235,1804,1805],"岸树","溪面","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[65],{"id":1810,"slug":1811,"title":1812,"dynasty":205,"author":433,"museum":94,"description":1813,"tags":1814,"thumbUrl":1815,"material":1816,"size":1817,"collection":65,"collections":1818,"showCount":1819,"zanCount":201,"manualWeight":45,"mainColor":46},221756,"song-shi-tu-zhou-sheng-mao-221756","松石图轴","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[78,194,23,24,56,57,58,321,913,82,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纸本，水墨","纵77.4厘米，横27.2厘米",[65,123],86,{"id":1821,"slug":1822,"title":1823,"dynasty":109,"author":306,"museum":232,"description":1824,"tags":1825,"thumbUrl":1828,"material":146,"size":1829,"collection":101,"collections":1830,"showCount":1819,"zanCount":45,"manualWeight":45,"mainColor":46},219116,"wu-mao-tu-yi-ming-219116","五猫图","这幅画是一棵古老的柳树，从土壤的右下坡笔直向上延伸。 柳树周围画有五只猫。 母猫的皮毛颜色很好。 它看起来天真无邪，喜欢在草坡上玩耍。",[23,194,29,27,482,1826,7,1827,82],"猫","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[101],{"id":1832,"slug":1833,"title":1834,"dynasty":109,"author":110,"museum":444,"description":1835,"tags":1836,"thumbUrl":1837,"material":211,"size":1838,"collection":65,"collections":1839,"showCount":1840,"zanCount":201,"manualWeight":45,"mainColor":46},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[23,24,36,56,29,58,35,38,33,37,7,81,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[65],85,{"id":1842,"slug":1843,"title":1844,"dynasty":51,"author":841,"museum":1845,"description":1846,"tags":1847,"thumbUrl":844,"material":146,"size":41,"collection":135,"collections":1848,"showCount":1849,"zanCount":250,"manualWeight":45,"mainColor":46},219588,"wang-xian-zhi-xiu-xi-dao-mao-xu-qu-xin-an-gong-zhu-tu-tang-yin-219588","王献之休郗道茂续娶新安公主图","沃尔特斯艺术博物馆","画面以枯荣交织的柳树起笔，萧寂山水铺陈出沉郁底色。右侧男子抬臂欲语，眉宇间漫着化不开的怅然，满腔无奈终究凝在抬手之间。左侧郗道茂依偎侍女，垂首敛肩将悲戚藏在背影里，被弃的凄楚默然漫溢。\n\n淡墨晕染山石空远幽寂，衬得这场诀别更添孤凉。工细衣纹勾勒出人物仪态，将情爱里身不由己的遗憾揉进绢本，把旧年憾事定格成含蓄深沉的无声诗篇，失意与伤情铺展在山水之间，余韵悠长。",[23,27,29,58,33,34,36,1827,59,7],[135],84,{"id":1851,"slug":1852,"title":1853,"dynasty":205,"author":231,"museum":444,"description":1854,"tags":1855,"thumbUrl":1857,"material":344,"size":1858,"collection":65,"collections":1859,"showCount":1849,"zanCount":45,"manualWeight":45,"mainColor":69},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[78,23,24,25,57,29,36,38,113,61,37,117,7,58,32,1856,30],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[65],{"id":1861,"slug":1862,"title":1863,"dynasty":109,"author":1864,"museum":94,"description":1865,"tags":1866,"thumbUrl":1867,"material":119,"size":1868,"collection":121,"collections":1869,"showCount":1870,"zanCount":201,"manualWeight":45,"mainColor":46},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","李迪","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[78,23,24,56,27,29,380,482,1717,1781,7,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[121,101,102],83,{"id":1872,"slug":1873,"title":1874,"dynasty":109,"author":110,"museum":232,"description":1875,"tags":1876,"thumbUrl":1877,"material":270,"size":41,"collection":101,"collections":1878,"showCount":1870,"zanCount":201,"manualWeight":45,"mainColor":664},218909,"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[78,23,7,36,171,320,172,57,481,56,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[101,65],{"id":1880,"slug":1881,"title":1882,"dynasty":51,"author":130,"museum":1883,"description":1884,"tags":1885,"thumbUrl":1886,"material":211,"size":1887,"collection":65,"collections":1888,"showCount":1889,"zanCount":201,"manualWeight":45,"mainColor":69},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。",[78,23,24,56,57,58,36,117,116,7,37,59,367,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[65],82,{"id":1891,"slug":1892,"title":1893,"dynasty":155,"author":1894,"museum":307,"description":1895,"tags":1896,"thumbUrl":1897,"material":146,"size":1898,"collection":65,"collections":1899,"showCount":1889,"zanCount":45,"manualWeight":45,"mainColor":46},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[23,24,36,294,58,26,29,33,113,114,38,509,1219,59,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[65],{"id":1901,"slug":1902,"title":129,"dynasty":109,"author":265,"museum":20,"description":1903,"tags":1904,"thumbUrl":1905,"material":270,"size":1906,"collection":65,"collections":1907,"showCount":1889,"zanCount":250,"manualWeight":45,"mainColor":46},218915,"shan-shui-tu-xia-gui-218915","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[78,194,23,24,57,29,58,36,82,7,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644fd7647ba471c42b77fc18e2.jpg","47.6x32.5",[65],{"id":1909,"slug":1910,"title":1911,"dynasty":51,"author":52,"museum":678,"description":1912,"tags":1913,"thumbUrl":1914,"material":63,"size":1915,"collection":41,"collections":1916,"showCount":1917,"zanCount":201,"manualWeight":45,"mainColor":69},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭","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。",[78,23,24,97,57,29,36,38,7,116,37,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg","纵28.6厘米，横33厘米",[],81,{"id":1919,"slug":1920,"title":1921,"dynasty":109,"author":585,"museum":53,"description":1922,"tags":1923,"thumbUrl":1926,"material":146,"size":1927,"collection":121,"collections":1928,"showCount":1917,"zanCount":45,"manualWeight":45,"mainColor":46},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[78,194,23,24,57,58,33,7,1924,36,1925],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[121],{"id":1930,"slug":1931,"title":1932,"dynasty":51,"author":841,"museum":157,"description":1933,"tags":1934,"thumbUrl":1935,"material":1936,"size":1937,"collection":65,"collections":1938,"showCount":1939,"zanCount":201,"manualWeight":45,"mainColor":69},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[78,23,24,56,57,58,31,33,1169,321,59,7,1769,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纸本墨笔","纵74.7，横42.7厘米",[65,123],80,{"id":1941,"slug":1942,"title":1943,"dynasty":51,"author":1944,"museum":157,"description":1945,"tags":1946,"thumbUrl":1950,"material":146,"size":1951,"collection":135,"collections":1952,"showCount":1939,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[23,194,24,56,57,481,29,36,33,35,39,37,116,7,1947,195,82,1948,1769,855,1949],"渔翁","芦苇","秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[135],{"id":1954,"slug":1955,"title":1956,"dynasty":205,"author":306,"museum":232,"description":1957,"tags":1958,"thumbUrl":1959,"material":146,"size":1960,"collection":65,"collections":1961,"showCount":1939,"zanCount":201,"manualWeight":45,"mainColor":46},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[23,57,29,36,37,35,195,7,82,81,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[65],{"id":1963,"slug":1964,"title":1965,"dynasty":205,"author":231,"museum":1966,"description":1967,"tags":1968,"thumbUrl":1969,"material":63,"size":1970,"collection":135,"collections":1971,"showCount":1972,"zanCount":250,"manualWeight":45,"mainColor":46},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","美国克利夫兰艺术博物馆","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[78,23,24,57,58,36,171,321,7,80,61,37,82,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[135,102],79,{"id":1974,"slug":1975,"title":1976,"dynasty":109,"author":1977,"museum":20,"description":1978,"tags":1979,"thumbUrl":1981,"material":211,"size":1982,"collection":135,"collections":1983,"showCount":1972,"zanCount":201,"manualWeight":45,"mainColor":46},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","梁楷","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[23,24,194,57,28,1980,33,7,82,957,30],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[135],{"id":1985,"slug":1986,"title":1746,"dynasty":109,"author":585,"museum":20,"description":1987,"tags":1988,"thumbUrl":1989,"material":355,"size":356,"collection":41,"collections":1990,"showCount":1991,"zanCount":45,"manualWeight":45,"mainColor":46},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[78,194,23,57,36,56,58,35,195,37,7,82,81,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":1993,"slug":1994,"title":562,"dynasty":109,"author":278,"museum":53,"description":1995,"tags":1996,"thumbUrl":1998,"material":1615,"size":1999,"collection":121,"collections":2000,"showCount":1991,"zanCount":45,"manualWeight":45,"mainColor":46},232619,"han-lin-ping-ye-tu-li-cheng-232619","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[23,24,56,57,58,36,79,7,566,82,245,1245,1997],"裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","纵137.8厘米，横69.2厘",[121],{"id":2002,"slug":2003,"title":2004,"dynasty":51,"author":74,"museum":53,"description":2005,"tags":2006,"thumbUrl":2007,"material":146,"size":2008,"collection":65,"collections":2009,"showCount":1991,"zanCount":250,"manualWeight":45,"mainColor":46},219401,"qiu-ting-shi-si-tu-lan-ying-219401","秋亭诗思图","画中以简洁三笔交代的下泻溪流，以及避开树干歪斜的茅草亭盖等画法，皆显得自信而可爱，洵为佳作。",[23,24,56,57,29,36,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc6a620f5800d5eb1c75122ee4fa99c.jpg","169.3x51.8",[65],{"id":2011,"slug":2012,"title":2013,"dynasty":205,"author":2014,"museum":232,"description":2015,"tags":2016,"thumbUrl":2017,"material":211,"size":2018,"collection":65,"collections":2019,"showCount":1991,"zanCount":45,"manualWeight":45,"mainColor":69},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","高克恭","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[78,23,24,56,57,58,36,7,447,39,1317,855,889,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[65],{"id":2021,"slug":2022,"title":2023,"dynasty":109,"author":2024,"museum":53,"description":2025,"tags":2026,"thumbUrl":2029,"material":270,"size":2030,"collection":121,"collections":2031,"showCount":2032,"zanCount":45,"manualWeight":45,"mainColor":46},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[78,194,23,24,29,27,39,82,7,380,2027,2028],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[121,101],76,{"id":2034,"slug":2035,"title":2036,"dynasty":109,"author":306,"museum":53,"description":2037,"tags":2038,"thumbUrl":2039,"material":146,"size":2040,"collection":65,"collections":2041,"showCount":2032,"zanCount":250,"manualWeight":45,"mainColor":69},218806,"song-ren-ji-hui-han-shan-xing-lv-yi-ming-218806","宋人集绘-寒山行旅","本页绘一轮明月高悬天际，其下寒江平展，枯树横生蟹爪，景色萧疏空阔。近处坡丘二起，左丘上，古松成双，参差挺峙。松下亭中，有旅人坐憩。两丘间，土桥横江相连，沿著右丘，小径一路蜿蜒东去，丘势亦转成峰，环抱于江渚之后。行旅三两或骑或行，殆欲踏寒归去。山石形若卷云，皴法笔势劲捷，遥山远树则用染与前景分虚实，空间的气氛感颇为独到。",[78,23,194,24,97,58,57,36,171,7,114,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[65],{"id":2043,"slug":2044,"title":2045,"dynasty":851,"author":2046,"museum":53,"description":2047,"tags":2048,"thumbUrl":2049,"material":270,"size":2050,"collection":41,"collections":2051,"showCount":2052,"zanCount":201,"manualWeight":45,"mainColor":46},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[23,56,57,58,36,81,79,82,37,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],75,{"id":2054,"slug":2055,"title":2056,"dynasty":51,"author":291,"museum":20,"description":2057,"tags":2058,"thumbUrl":2059,"material":41,"size":41,"collection":41,"collections":2060,"showCount":2052,"zanCount":45,"manualWeight":45,"mainColor":46},228439,"er-shi-si-xiao-tu-ye-chou-ying-228439","二十四孝图页","此作工致清雅，以细腻笔触绘就林间饲象图景。白象以淡墨皴擦晕染皮肤褶皱，肌理温润厚实，鼻卷白润之物，神态温驯静和。童子倚树而立，衣纹爽利简练，安然望向白象，神态松弛自若。古柳垂枝如幄，树身疤结刻画入微，惊掠的飞鸟打破林间静谧，动静相生，晕染出悠然古意。整幅设色调和雅致，无浓艳堆砌，将寻常伴象日常晕染出静穆恬然的古典氛围，尽显工笔画的精工雅致，于细节处可见精妙观察力，把畜兽憨态、人物安然与林间清景融为一体，平和之中藏着隽永的东方意趣。",[23,24,97,27,29,33,482,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff505fe06d0930a18151ddd26d291ddce.jpg",[],{"id":2062,"slug":2063,"title":2064,"dynasty":155,"author":2065,"museum":307,"description":2066,"tags":2067,"thumbUrl":2068,"material":63,"size":2069,"collection":65,"collections":2070,"showCount":2052,"zanCount":45,"manualWeight":45,"mainColor":69},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬","髡残","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[78,23,24,57,36,116,7,35,37,59,58,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg","纵31.8cm 横65cm",[65],{"id":2072,"slug":2073,"title":2074,"dynasty":2075,"author":2076,"museum":307,"description":2077,"tags":2078,"thumbUrl":2079,"material":270,"size":2080,"collection":101,"collections":2081,"showCount":2052,"zanCount":45,"manualWeight":45,"mainColor":46},219041,"shuang-niu-tu-han-huang-219041","双牛图","唐","韩滉","这幅画画在一个平坦的斜坡上，左边是一棵断裂枯萎的老树，画面中间是两头牛，一前一后，正在前进，前面的牧童骑着牛，后面的牧童跟着牛。",[78,23,25,57,27,1169,33,172,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe648b205f631048024faea7c42d32cae.jpg","纵35.6横93.5厘米",[101],{"id":2083,"slug":2084,"title":2085,"dynasty":155,"author":2086,"museum":20,"description":2087,"tags":2088,"thumbUrl":2089,"material":41,"size":41,"collection":65,"collections":2090,"showCount":2091,"zanCount":45,"manualWeight":45,"mainColor":69},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[23,24,97,29,36,58,26,61,37,7,171,39,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[65,102],74,{"id":2093,"slug":2094,"title":2095,"dynasty":155,"author":377,"museum":94,"description":2096,"tags":2097,"thumbUrl":2098,"material":384,"size":2099,"collection":101,"collections":2100,"showCount":2091,"zanCount":250,"manualWeight":45,"mainColor":69},237621,"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[23,24,56,57,481,638,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d785eed0c86.jpg","纵96厘米，横55厘米",[101],{"id":2102,"slug":2103,"title":2104,"dynasty":205,"author":231,"museum":94,"description":2105,"tags":2106,"thumbUrl":2107,"material":344,"size":2108,"collection":65,"collections":2109,"showCount":2091,"zanCount":45,"manualWeight":45,"mainColor":69},220823,"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[23,57,29,58,36,7,33,35,39,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[65,123],{"id":2111,"slug":2112,"title":2113,"dynasty":155,"author":2114,"museum":94,"description":2115,"tags":2116,"thumbUrl":2117,"material":84,"size":2118,"collection":101,"collections":2119,"showCount":2120,"zanCount":201,"manualWeight":45,"mainColor":69},233442,"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","罗聘","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[23,57,29,97,33,36,35,37,7,1317,1827,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[101,65,102],73,{"id":2122,"slug":2123,"title":2124,"dynasty":109,"author":265,"museum":20,"description":2125,"tags":2126,"thumbUrl":2127,"material":41,"size":41,"collection":41,"collections":2128,"showCount":2120,"zanCount":45,"manualWeight":45,"mainColor":46},227765,"mu-se-yu-cun-tu-ye-xia-gui-227765","暮色渔村图页","宋代绘画是中国绘画艺术发展的高峰。南宋退至杭州以后，宗室子弟也随之退至杭州，宗室子弟多具艺术兴趣、禀赋、修养。南宋虽偏安江南，但在绘画上却依然取得了瞩目的成就。宫廷绘画仍是当时绘画发展的主流，江南的自然和人文环境，使南宋绘画别具自己的特色。山水画从北宋全景式的大山大水及松石，变成了用笔简括、章法谨严、高度剪裁的边角特写。人物画着重挖掘人物的精神状貌及动人的情节，注重塑造性格鲜明的艺术形象。花鸟画努力进行形象提炼，有着高度的写实能力。而千姿百态的西湖画更显示了南宋画的特色。此时的文人士夫画在主观的表达和笔墨效果的探索上亦有较大的贡献。夏圭、马远、李唐和刘鹤年并称南宋四大画家。这里介绍四大画家之一夏圭绘画赏析，他的主要作品有《溪山清远图》《临流赋琴图》《雪堂客话图》《烟岫林居图》《西湖柳艇图》《洞庭秋月图》《梧竹溪堂图》《山水十二景图》《雪溪放牧图页》《风雨行舟图》《山腰楼观图页》《泽畔疾风图》《钱塘秋潮图》《松溪泛月图》《寒林对雪图》《山市晴岚图》《松崖客话图》《遥岑烟霭图》《灞桥风雪图》《观瀑图》《坐看云起图》《长江万里图》《捕鱼图团扇》等。",[23,57,58,97,36,39,35,7,296,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fd431501dd6f7cc9573e2445db7b27.jpg",[],{"id":2130,"slug":2131,"title":129,"dynasty":109,"author":265,"museum":53,"description":2132,"tags":2133,"thumbUrl":2134,"material":29,"size":2135,"collection":65,"collections":2136,"showCount":2120,"zanCount":45,"manualWeight":45,"mainColor":46},221226,"shan-shui-tu-xia-gui-221226","夏圭 (公元12世纪末-13世纪初) 亦称夏珪,字禹玉,钱塘(今浙江杭州)人,生卒不详,宁宗赵扩 (1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[78,194,23,24,36,57,58,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[65,123],{"id":2138,"slug":2139,"title":2140,"dynasty":51,"author":2141,"museum":2142,"description":2143,"tags":2144,"thumbUrl":2146,"material":344,"size":2147,"collection":65,"collections":2148,"showCount":2120,"zanCount":201,"manualWeight":45,"mainColor":46},216742,"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","日本东京国立博物馆","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[78,2145,56,650,29,27,58,36,33,447,7,59,367],"日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[65],{"id":2150,"slug":2151,"title":2152,"dynasty":155,"author":1114,"museum":20,"description":2153,"tags":2154,"thumbUrl":2155,"material":355,"size":356,"collection":65,"collections":2156,"showCount":2157,"zanCount":45,"manualWeight":45,"mainColor":69},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚仿古山水册","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,24,97,29,58,26,36,7,59,367,235,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[65,102],71,{"id":2159,"slug":2160,"title":2161,"dynasty":109,"author":110,"museum":20,"description":2162,"tags":2163,"thumbUrl":2164,"material":41,"size":41,"collection":41,"collections":2165,"showCount":2157,"zanCount":45,"manualWeight":45,"mainColor":89},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[78,23,194,24,97,57,58,29,36,35,7,59,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":2167,"slug":2168,"title":1582,"dynasty":109,"author":2169,"museum":700,"description":2170,"tags":2171,"thumbUrl":2172,"material":57,"size":2173,"collection":121,"collections":2174,"showCount":2157,"zanCount":201,"manualWeight":45,"mainColor":46},221257,"mu-tong-tu-dai-ze-221257","戴泽","整幅画作氤氲着江南水畔的萧散野趣，淡赭底色晕染出暮冬将醒的沉柔氛围。枯树斜欹坡岸，枝桠疏朗留白，衬得陂塘水色愈见空濛。\n\n两名牧童随性自在，一骑牛信步缓行，安然垂首似在聆听水声；一立树侧，牵引着俯身饮水的水牛，稚气隐于简淡笔触之下。水牛造型朴拙憨态，笔墨简括却筋骨俱现。\n\n画作以极简构图传递出平淡天真的意趣，将乡野日常的闲逸诗意藏于浅淡晕染间，褪去冗杂，只剩江南牧歌的松弛韵致，静穆中晕开鲜活的田园烟火气。",[78,23,24,109,29,33,1169,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faced28b4a42cd3e3f64e1fd502af2828.jpg","25.6×22.8",[121,135,102],{"id":2176,"slug":2177,"title":2178,"dynasty":155,"author":2179,"museum":540,"description":2180,"tags":2181,"thumbUrl":2182,"material":63,"size":2183,"collection":41,"collections":2184,"showCount":2157,"zanCount":201,"manualWeight":45,"mainColor":69},216250,"jing-fu-si-qi-dong-jing-tu-8-qian-wei-cheng-216250","景敷四气冬景图-8","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n蜡以黏英珊结子，有花有实冒冬荣。惟应罗汉松高见，不屑别传三友名。钤印：静中观造化",[23,57,29,58,36,35,7,82,37,80,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93f1bcbd0305cbd9f3595cfd4faef6d.jpg","21.9 × 30.2cm",[],{"id":2186,"slug":2187,"title":2188,"dynasty":155,"author":909,"museum":444,"description":2189,"tags":2190,"thumbUrl":2191,"material":344,"size":2192,"collection":41,"collections":2193,"showCount":2157,"zanCount":45,"manualWeight":45,"mainColor":46},214344,"san-jue-shan-shui-ce-15-hua-yan-214344","三绝山水册-15","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[78,23,97,57,36,35,82,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4491a88ae5e5ead8b4380ed9f6110b95.jpg","23.4x15.8",[],{"id":2195,"slug":2196,"title":2197,"dynasty":51,"author":306,"museum":2198,"description":2199,"tags":2200,"thumbUrl":2203,"material":41,"size":41,"collection":135,"collections":2204,"showCount":2205,"zanCount":201,"manualWeight":45,"mainColor":69},238562,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238562","明人升平翊赞图并书赞册","德国国立柏林民俗博物馆","此作工笔重彩，设色妍丽沉稳。朱漆楼宇界画工致，飞檐翼然，堂内宾主雅集宴乐，丝竹相和、把盏酬唱，一派闲雅升平。另一侧甲胄武士整队而来，鞍饰鲜亮、仪仗严整，赳赳威仪和宴饮雅趣相映成趣。\n山石松瀑勾勒细致，草木布景层次分明，人物衣纹走线考究，武士的英挺、宴客的雍容皆被细致摹写。以工致笔触铺陈出承平之世的礼乐典仪，将朝堂酬酢的盛大描摹尽致，处处流露着对盛世安稳的由衷赞颂。",[23,29,27,294,97,33,113,61,509,7,38,37,2201,2202],"狗","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6599ab556ad7494df2f3406cc7785279.jpg",[135,102],70,{"id":2207,"slug":2208,"title":2209,"dynasty":155,"author":406,"museum":20,"description":2210,"tags":2211,"thumbUrl":2212,"material":119,"size":41,"collection":101,"collections":2213,"showCount":2205,"zanCount":201,"manualWeight":45,"mainColor":46},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[78,23,194,56,29,27,39,482,321,7,447,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[101,102],{"id":2215,"slug":2216,"title":2217,"dynasty":51,"author":898,"museum":94,"description":2218,"tags":2219,"thumbUrl":2220,"material":384,"size":2221,"collection":101,"collections":2222,"showCount":2205,"zanCount":45,"manualWeight":45,"mainColor":69},221894,"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[78,23,24,56,57,638,82,7,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[101,123],{"id":2224,"slug":2225,"title":2226,"dynasty":205,"author":1551,"museum":53,"description":2227,"tags":2228,"thumbUrl":2230,"material":146,"size":41,"collection":65,"collections":2231,"showCount":2205,"zanCount":45,"manualWeight":45,"mainColor":69},218765,"xu-xie-ting-quan-tu-wu-zhen-218765","虚榭听泉图","枯树虬枝如铁，墨色浓淡交织间尽显苍劲老辣。山泉自崖壁倾泻而下，细流蜿蜒，泠泠水声似在耳畔萦绕。林下虚榭空寂，虽无人影，却恍若有隐者凭栏，静听泉石相和，心随流水悠远。远山以淡墨晕染，云雾轻笼，更添空濛之致。整幅画笔墨简淡却意境深幽，散发出元人特有的隐逸气度，于静谧中藏生机，于朴拙中见灵秀。不事雕琢的线条里，浸透着散淡超脱的情怀，引人沉浸其中，暂忘尘俗纷扰，尽享自然之趣。每一处墨色的晕染、线条的勾勒，都藏着对天地的敬畏与对本心的坚守，让观者在无声的画面里，听见心灵与自然的共鸣。",[78,23,57,58,36,38,2229,37,7,59,97],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc9b3797243816d5b728fd7eeef1266.jpg",[65],{"id":2233,"slug":2234,"title":2235,"dynasty":205,"author":306,"museum":2236,"description":2237,"tags":2238,"thumbUrl":2240,"material":146,"size":2241,"collection":65,"collections":2242,"showCount":2205,"zanCount":201,"manualWeight":45,"mainColor":46},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","山东省博物馆","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[23,194,24,27,29,380,39,2239,7,1279],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[65,101],{"id":2244,"slug":2245,"title":2246,"dynasty":109,"author":1977,"museum":700,"description":2247,"tags":2248,"thumbUrl":2252,"material":370,"size":2253,"collection":41,"collections":2254,"showCount":2255,"zanCount":201,"manualWeight":45,"mainColor":46},221615,"xue-jing-shan-shui-tu-liang-kai-221615","雪景山水图","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[78,23,194,36,282,33,2249,7,2250,59,57,58,27,2251],"驴","寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","111.3cmx49.7cm",[],69,{"id":2257,"slug":2258,"title":2259,"dynasty":51,"author":52,"museum":678,"description":1912,"tags":2260,"thumbUrl":2261,"material":63,"size":1915,"collection":41,"collections":2262,"showCount":2255,"zanCount":201,"manualWeight":45,"mainColor":69},220019,"dong-zhuang-tu-ce-zhi-zhe-gui-qiao-shen-zhou-220019","东庄图册之折桂桥",[78,23,57,29,97,36,61,37,424,7,681,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e6c408cd67552c039d8fa8da7af631.jpg",[],{"id":2264,"slug":2265,"title":2266,"dynasty":155,"author":755,"museum":20,"description":2267,"tags":2268,"thumbUrl":2269,"material":41,"size":41,"collection":135,"collections":2270,"showCount":2271,"zanCount":45,"manualWeight":45,"mainColor":69},228989,"bai-kai-luo-han-tu-1-shi-tao-228989","百开罗汉图1","《石涛罗汉百开册页》是石涛青年时期绘制的工笔人物作品，为完整一百开册页，共画山水背景中的罗汉人物1位，各册页中罗汉左右分别陪饰众多人物及似龙、虎、鹿、狮等神兽形象。\n根据 在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[23,24,650,57,28,33,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[135],68,{"id":2273,"slug":2274,"title":2275,"dynasty":155,"author":755,"museum":20,"description":2276,"tags":2277,"thumbUrl":2278,"material":41,"size":41,"collection":41,"collections":2279,"showCount":2271,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[194,23,24,57,29,36,58,32,30,7,116,38,61,37,35,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":2281,"slug":2282,"title":2283,"dynasty":1178,"author":2284,"museum":1702,"description":2285,"tags":2286,"thumbUrl":2287,"material":41,"size":41,"collection":41,"collections":2288,"showCount":2271,"zanCount":45,"manualWeight":45,"mainColor":69},220535,"da-shu-shuang-ma-xu-bei-hong-220535","大树双马","徐悲鸿","泼墨写就古木虬枝，浓淡墨色晕染出繁密冠盖，老干皴擦尽显饱经风霜的沉浑苍劲，带着穿越岁月的雄强生机。\n下方双马情态各异，棕马垂首缓行啮草，筋骨松弛尽显悠然意态，白马昂首长嘶，鬃毛飞扬神骏昂扬，一动一静相映成趣。\n画作融贯中西，以国画写意笔墨铺陈意境，暗合西画的形体结构，将古木的沧桑厚重与骏马的灵动勃发相融，浅淡远景晕染出郊野疏阔，藏着松弛野趣，尽显生命的不同姿态。",[78,23,57,29,509,7,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16779d29c7db2be6f8c5a99604e1dee9.jpg",[],{"id":2290,"slug":2291,"title":2292,"dynasty":51,"author":2293,"museum":53,"description":2294,"tags":2295,"thumbUrl":2296,"material":63,"size":2297,"collection":102,"collections":2298,"showCount":2271,"zanCount":201,"manualWeight":45,"mainColor":69},219404,"tian-zhong-de-xi-tu-yuan-shang-tong-219404","天中得喜图","袁尚统","枝头双鹊姿态鲜活，一俯身啄食朱红花朵间的嫩蕊，一昂首展翼似欲鸣啭，墨笔勾勒的羽翼层次分明，黑羽亮泽如缎。老干虬曲盘结，枝桠以劲挺笔触写出，点缀的朱红花朵艳而不妖；下方山石用泼墨点染，兼以皴擦，纹理朴拙厚重，坡地细草丛生，野趣横生。整幅笔墨工写结合，花鸟与山石相映成趣，既得自然生机之妙，又暗蕴欢愉吉庆之意，于简洁构图中传递出恬淡雅致的文人意趣，观之令人心生愉悦。",[23,194,24,29,57,380,39,7,82,638,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b8856c5e913470ad4bb1b74dcea90b.jpg","123.1x60.7厘米",[102],{"id":2300,"slug":2301,"title":2302,"dynasty":109,"author":585,"museum":232,"description":2303,"tags":2304,"thumbUrl":2305,"material":146,"size":2306,"collection":101,"collections":2307,"showCount":2271,"zanCount":201,"manualWeight":45,"mainColor":46},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[23,24,36,58,57,29,1169,321,39,59,117,7,235,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[101],{"id":2309,"slug":2310,"title":2311,"dynasty":205,"author":306,"museum":94,"description":2312,"tags":2313,"thumbUrl":2314,"material":146,"size":2315,"collection":65,"collections":2316,"showCount":2271,"zanCount":201,"manualWeight":45,"mainColor":46},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[23,57,36,33,2249,79,59,1532,195,58,368,114,7,628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[65],{"id":2318,"slug":2319,"title":1611,"dynasty":109,"author":265,"museum":20,"description":1062,"tags":2320,"thumbUrl":2322,"material":355,"size":356,"collection":41,"collections":2323,"showCount":2324,"zanCount":45,"manualWeight":45,"mainColor":46},289973,"xi-kou-chui-diao-tu-xia-gui-289973",[78,194,23,997,57,58,7,235,35,37,1805,81,2321],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12db7647f64f711e5579f8564b24a7.jpg",[],67,{"id":2326,"slug":2327,"title":2328,"dynasty":205,"author":433,"museum":94,"description":2329,"tags":2330,"thumbUrl":2331,"material":119,"size":2332,"collection":65,"collections":2333,"showCount":2324,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,23,24,530,57,29,58,36,33,39,7,116,59,889],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[65,102],{"id":2335,"slug":2336,"title":1800,"dynasty":205,"author":306,"mus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有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[78,194,23,24,25,28,57,29,36,33,35,7,297,37,39,82,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","绢本，淡设色","25.9*143cm",[121,65,102],{"id":2415,"slug":2416,"title":2417,"dynasty":109,"author":110,"museum":20,"description":2418,"tags":2419,"thumbUrl":2421,"material":344,"size":2422,"collection":121,"collections":2423,"showCount":2383,"zanCount":45,"manualWeight":45,"mainColor":46},221540,"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[78,23,24,36,38,33,57,29,58,82,7,2420],"边角山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[121,65,123],{"id":2425,"slug":2426,"title":2427,"dynasty":51,"author":2428,"museum":94,"description":2429,"tags":2430,"thumbUrl":2431,"material":211,"size":2432,"collection":123,"collections":2433,"showCount":2383,"zanCount":201,"manualWeight":45,"mainColor":69},219209,"ce-zhang-xun-you-tu-xie-shi-chen-219209","策杖寻幽图","谢时臣","图中山峰巍峨耸立，中间一条溪流将画面大体分为左右两段。山谷溪流上的桥面暗示两山间公路畅通，画左林木掩映下一文士拄杖沿山路走来，点明“寻幽”主题。谢时臣的部分作品皆自题是仿元王蒙笔法而作，如南京博物院藏正德十二年（1517年）《仿王蒙山水图》、故宫藏嘉靖二十九年（1550年）《溪亭逸思图》和上海博物馆藏《江山胜览图》等。表明王蒙在谢时臣画风的产生过程中有着重要的含义。该图是谢时臣60岁时所作（嘉靖二十五年，1546年），在山石结构、笔墨皴法上还可以看见王蒙的影子，但与王蒙典型的精细密集的牛毛皴相比，图中山石皴法粗短松动，则显著是得到了沈周的影响导致。该画整体感强，皴法晕染能较好地渗入到山石整体的构架之中，构图细腻，笔墨苍润，体现出画家融合前人笔墨创造自己风格的尽力。",[78,23,57,56,36,58,61,37,7,59,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e92a7653f3aa0d79eeb78387794f54.jpg","纵84.9厘米，横31.3厘米",[123],{"id":2435,"slug":2436,"title":2437,"dynasty":109,"author":110,"museum":1422,"description":2438,"tags":2439,"thumbUrl":2440,"material":146,"size":2441,"collection":65,"collections":2442,"showCount":2383,"zanCount":45,"manualWeight":45,"mainColor":69},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[78,23,24,194,530,57,29,58,36,61,33,7,59,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[65],{"id":2444,"slug":2445,"title":2446,"dynasty":205,"author":1561,"museum":94,"description":2447,"tags":2448,"thumbUrl":2449,"material":211,"size":2450,"collection":65,"collections":2451,"showCount":2383,"zanCount":45,"manualWeight":45,"mainColor":69},218305,"ping-lin-yuan-shan-tu-shen-xuan-218305","平林远山图","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，",[23,57,36,58,7,116,235,61,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc305432fdd2052683afa0a54e0506946.jpg","30x40.9cm",[65],{"id":2453,"slug":2454,"title":2455,"dynasty":205,"author":2456,"museum":1966,"description":2457,"tags":2458,"thumbUrl":2459,"material":211,"size":2460,"collection":135,"collections":2461,"showCount":2383,"zanCount":45,"manualWeight":45,"mainColor":46},214296,"wu-zu-zai-lai-tu-yin-tuo-luo-214296","五祖再来图","因陀罗","因陀罗（1247-1317）是元代著名的画家，他的《元五祖再来图》是其代表作之一。\n\n《元五祖再来图》描绘了五位道士依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出五位道士与山林的和谐关系。因陀罗在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《元五祖再来图》被认为是因陀罗写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《元五祖再来图》也是收藏家们青睐的经典之作。\n\n因陀罗的《元五祖再来图》是一幅描绘五位道士依山而居的画作，它体现了道家哲学中“和谐”的理念。五位道士与周围的山林和谐相处，表现出人与自然和谐共处的理想。因陀罗的《元五祖再来图》不仅是一幅精美的画作，更是一首关于人与自然和谐相处的诗篇。",[78,23,24,194,28,57,33,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce02a048b10ef3981bf016dade452b6.jpg","32.7x44.6",[135],{"id":2463,"slug":2464,"title":2465,"dynasty":205,"author":2466,"museum":1483,"description":2467,"tags":2468,"thumbUrl":2469,"material":270,"size":2470,"collection":65,"collections":2471,"showCount":2472,"zanCount":201,"manualWeight":45,"mainColor":664},219880,"chi-bi-tu-zhang-yuan-219880","赤壁图","张元","《赤壁图》是金末至大蒙古国时期文学家、诗人元好问创作的一首七言古诗。该诗中，诗人于评论《赤壁图》之逼真传神的同时，着重描述了当年赤壁大战的壮阔，绘画了苏轼泛舟夜游的恬淡，由此抒发了诗人对周瑜和苏轼两位英雄的钦慕赞誉，寄寓了诗人自己哀伤感痛的情思。诗中借对孙权、周瑜的赞美，反衬出面对金国的衰亡，救国无人、回天乏术的慨痛。全诗出语奇肆却章法严整，于跌宕奔放的笔势中时显精彩的思致，情韵兼收。",[23,57,36,35,7,82,58,195,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2fe153cd6fbd7f83d76cd44ff2cef.jpg","152.5x72.4",[65],64,{"id":2474,"slug":2475,"title":2476,"dynasty":109,"author":278,"museum":53,"description":2477,"tags":2478,"thumbUrl":2479,"material":146,"size":2480,"collection":123,"collections":2481,"showCount":2472,"zanCount":45,"manualWeight":45,"mainColor":69},219723,"lin-ting-tu-li-cheng-219723","林亭图","图绘山中霜林高阁，文士坐阁中观景。树木繁密，林泉清洌。此幅因画寒林之景，后人附之为李成所作，实是明清人笔墨之格。",[23,24,57,58,25,36,38,7,59,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abf21543f24da0a232c5b578e6a8b4f.jpg","37.5x72.2厘米",[123],{"id":2483,"slug":2484,"title":2485,"dynasty":205,"author":231,"museum":53,"description":2486,"tags":2487,"thumbUrl":2491,"material":211,"size":2492,"collection":41,"collections":2493,"showCount":2494,"zanCount":201,"manualWeight":45,"mainColor":69},290960,"gu-kou-chun-geng-tu-wang-meng-290960","谷口春耕图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[194,23,24,56,57,36,58,59,7,2488,2489,2490,30,31],"山居","田亩","春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2e70b6711706e72d0fd7a32ef37df4.jpg","124.9x37.1",[],63,{"id":2496,"slug":2497,"title":2498,"dynasty":155,"author":977,"museum":20,"description":978,"tags":2499,"thumbUrl":2500,"material":355,"size":356,"collection":41,"collections":2501,"showCount":2494,"zanCount":45,"manualWeight":45,"mainColor":69},239430,"shan-shui-hua-hui-ce-yun-shou-ping-239430","山水花卉册",[23,57,58,36,35,39,7,1948,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131190f5d73525615989a121640b7a89.jpg",[],{"id":2503,"slug":2504,"title":2505,"dynasty":109,"author":306,"museum":20,"description":2506,"tags":2507,"thumbUrl":2508,"material":146,"size":2509,"collection":121,"collections":2510,"showCount":2494,"zanCount":45,"manualWeight":45,"mainColor":46},219011,"mu-niu-tu-yi-ming-219011","牧牛图","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[78,194,23,24,530,57,29,1169,7,82,37,30,482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[121],{"id":2512,"slug":2513,"title":2514,"dynasty":205,"author":206,"museum":157,"description":2515,"tags":2516,"thumbUrl":2517,"material":270,"size":2518,"collection":65,"collections":2519,"showCount":2494,"zanCount":201,"manualWeight":45,"mainColor":46},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","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。",[23,57,36,58,31,30,7,116,35,37,82,235,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[65],{"id":2521,"slug":2522,"title":2523,"dynasty":155,"author":2065,"museum":94,"description":2524,"tags":2525,"thumbUrl":2526,"material":2527,"size":2528,"collection":65,"collections":2529,"showCount":2530,"zanCount":45,"manualWeight":45,"mainColor":69},234264,"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[78,23,57,97,58,31,36,7,82,117,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纸本 ，墨笔","纵21.5cm，横16.9cm",[65],62,{"id":2532,"slug":2533,"title":2534,"dynasty":109,"author":265,"museum":20,"description":2535,"tags":2536,"thumbUrl":2537,"material":41,"size":41,"collection":41,"collections":2538,"showCount":2530,"zanCount":45,"manualWeight":45,"mainColor":69},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[78,23,24,25,57,58,32,30,36,35,39,81,117,59,37,531,195,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":2540,"slug":2541,"title":2542,"dynasty":109,"author":306,"museum":53,"description":2543,"tags":2544,"thumbUrl":2545,"material":146,"size":2546,"collection":121,"collections":2547,"showCount":2530,"zanCount":45,"manualWeight":45,"mainColor":46},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[78,23,194,24,56,27,29,380,638,424,410,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[121,101,102],{"id":2549,"slug":2550,"title":2551,"dynasty":205,"author":2552,"museum":540,"description":2553,"tags":2554,"thumbUrl":2555,"material":270,"size":2556,"collection":123,"collections":2557,"showCount":2530,"zanCount":201,"manualWeight":45,"mainColor":46},220369,"mo-ji-shi-yi-tu-tang-di-220369","摩诘诗意图","唐棣","《摩诘诗意图》毫无疑问是唐棣山水画的代表作。画面近景巨树磅礴有力，远景平野延展不绝，树木是典型的蟹爪枝，山石是典型的鬼面石，皴法是典型的卷云皴，真可谓得李郭“真传”。",[78,23,57,36,7,59,58,56,235,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd21367e223c6a2061d4a44ff001c3.jpg","71x46cm",[123],{"id":2559,"slug":2560,"title":2561,"dynasty":109,"author":1977,"museum":53,"description":2562,"tags":2563,"thumbUrl":2565,"material":344,"size":2566,"collection":121,"collections":2567,"showCount":2530,"zanCount":201,"manualWeight":45,"mainColor":69},219954,"shan-yin-shu-sha-tu-liang-kai-219954","山阴书箑图","画中每个人物均表情生动，衣纹线条潇洒流畅，虽然不见得是梁楷亲笔所作，却能充分掌握住写意人物的简率趣味。",[78,194,23,24,57,28,2564,33,7,82],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1cc436980034bf908ab2030dac5a49.jpg","31.3×58.9公分",[121],{"id":2569,"slug":2570,"title":2571,"dynasty":109,"author":1977,"museum":53,"description":2572,"tags":2573,"thumbUrl":2575,"material":146,"size":2576,"collection":135,"collections":2577,"showCount":2530,"zanCount":45,"manualWeight":45,"mainColor":46},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[78,194,23,24,56,2564,57,29,33,2574,7,59,37,792],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[135],{"id":2579,"slug":2580,"title":2581,"dynasty":851,"author":2582,"museum":53,"description":2583,"tags":2584,"thumbUrl":2587,"material":146,"size":2588,"collection":135,"collections":2589,"showCount":2530,"zanCount":250,"manualWeight":45,"mainColor":46},219490,"wen-hui-tu-qiu-wen-bo-219490","文会图","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[194,23,24,27,29,28,33,1278,2585,7,59,2586,957],"侍女","桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[135],{"id":2591,"slug":2592,"title":2593,"dynasty":109,"author":306,"museum":53,"description":2594,"tags":2595,"thumbUrl":2597,"material":146,"size":41,"collection":65,"collections":2598,"showCount":2530,"zanCount":250,"manualWeight":45,"mainColor":46},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。",[78,23,194,27,57,29,7,116,82,1247,2596,320,1208],"渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[65],{"id":2600,"slug":2601,"title":2602,"dynasty":109,"author":2603,"museum":20,"description":2604,"tags":2605,"thumbUrl":2606,"material":146,"size":41,"collection":65,"collections":2607,"showCount":2530,"zanCount":45,"manualWeight":45,"mainColor":46},218611,"han-lin-ce-zhang-tu-hu-yan-long-218611","寒林策杖图","胡彦龙","寒林枝干虬曲如铁，墨色浓淡交织出萧瑟之态。右侧山石以沉凝皴笔勾勒，纹理苍劲，与疏林相映成趣。坡岸之上，策杖者孑然独立，衣袂轻扬似携山风，身影虽小却意态悠然。古雅的棕褐底色衬出笔墨清劲，虚实间藏着宋人的隐逸情怀——林泉之致，不在喧嚣，而在山、树、人的静默相对里。笔墨简淡却韵味悠长，冬日清寒与心境澄明揉进每一笔，观者仿佛能听见林间风声，触到山石凉，读懂那份寄情山水的淡然。",[23,24,36,33,7,59,58,29,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60709ae11956c61255df326d8727958c.jpg",[65],{"id":2609,"slug":2610,"title":1746,"dynasty":51,"author":306,"museum":307,"description":26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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。",[78,23,24,36,57,58,116,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[65,123],{"id":2668,"slug":2669,"title":2670,"dynasty":109,"author":306,"museum":2671,"description":2672,"tags":2673,"thumbUrl":2674,"material":344,"size":2675,"collection":121,"collections":2676,"showCount":2677,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,24,25,57,58,36,117,855,367,368,171,320,82,114,38,39,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[121,65,123],60,{"id":2679,"slug":2680,"title":746,"dynasty":155,"author":2681,"museum":540,"description":2682,"tags":2683,"thumbUrl":2684,"material":211,"size":2685,"collection":65,"collections":2686,"showCount":2677,"zanCount":45,"manualWeight":45,"mainColor":69},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[78,23,24,25,57,58,36,61,37,35,38,39,7,113,447,59,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[65],{"id":2688,"slug":2689,"title":129,"dynasty":109,"author":2690,"museum":2691,"description":2692,"tags":2693,"thumbUrl":2694,"material":146,"size":2695,"collection":65,"collections":2696,"showCount":2677,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[23,57,58,56,36,245,116,7,82,38,856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[65],{"id":2698,"slug":2699,"title":129,"dynasty":205,"author":2700,"museum":2701,"description":2702,"tags":2703,"thumbUrl":2704,"material":146,"size":2705,"collection":65,"collections":2706,"showCount":2677,"zanCount":201,"manualWeight":45,"mainColor":46},218242,"shan-shui-tu-yan-hui-218242","颜辉","开封市博物馆","层岩叠壑间云雾氤氲，似将山峦晕染成流动的诗行。枯木虬枝如墨笔狂舞，皴擦点染间尽显苍劲力道，却又于虬曲中藏着生机。山间屋舍隐于林麓，半露半藏，似有逸士凭窗观云，将尘嚣隔绝在外。水墨淋漓处，浓淡干湿交织，远山如黛，近石如铁，树木扶疏间，光影流转成幽寂之境。\n\n这幅山水将自然丘壑化为心象，笔墨既见法度又含写意，于沉郁中透出空灵。它以苍劲的笔触勾勒天地骨架，用氤氲的墨气晕开文人幽怀，仿佛能让人听见山风穿林、涧水潺潺，在静默中与天地精神往来，尽显元人寄情山水、以笔抒怀的意趣。",[23,57,29,58,36,59,117,38,80,7,703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8acb54e2e79d4575f1c162e13375372.jpg","136x127cm",[65],{"id":2708,"slug":2709,"title":2710,"dynasty":51,"author":2711,"museum":20,"description":2712,"tags":2713,"thumbUrl":2714,"material":41,"size":41,"collection":41,"collections":2715,"showCount":2716,"zanCount":178,"manualWeight":45,"mainColor":69},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 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一六五沈曾植行书七绝",[78,23,24,194,56,29,27,58,36,33,509,38,116,7,2622,779,171,855,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],59,{"id":2718,"slug":2719,"title":2720,"dynasty":51,"author":2721,"museum":53,"description":2722,"tags":2723,"thumbUrl":2724,"material":370,"size":41,"collection":41,"collections":2725,"showCount":2716,"zanCount":45,"manualWeight":45,"mainColor":69},228368,"sou-shan-tu-juan-li-zai-228368","搜山图卷","李在","苍松躯干虬结嶙峋，疤节错生尽显古拙雄健，松针攒簇如戟，苍劲之意溢出纸面。左侧群妖姿态怪诞灵动，或疾奔呼号，或惶然疾走，铁线白描勾勒出魑魅惊惶奔逃的身形，衣袂毛发皆带着仓皇动感，将神异妖物的惶遽神态刻画入微。\n\n淡墨晕染烘托出山林幽寂的荒蛮底色，笔力劲挺洗练，虚实相生间，搜山捉妖的紧张氛围跃然纸上，把这场神异搜山的诡谲张力诠释得淋漓尽致，尽显笔底风神，将山野间的奇幻荒怪之气铺陈开来。",[78,23,25,28,57,33,482,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243e48218103e4f5026b059cf667cf60.jpg",[],{"id":2727,"slug":2728,"title":2729,"dynasty":155,"author":2730,"museum":20,"description":2731,"tags":2732,"thumbUrl":2735,"material":41,"size":41,"collection":65,"collections":2736,"showCount":2737,"zanCount":45,"manualWeight":45,"mainColor":69},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[23,24,25,57,26,58,36,61,37,35,38,7,59,33,321,1827,80,2733,235,2734],"小船","近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[65],58,{"id":2739,"slug":2740,"title":2741,"dynasty":109,"author":1864,"museum":540,"description":2742,"tags":2743,"thumbUrl":2744,"material":2745,"size":2746,"collection":121,"collections":2747,"showCount":2737,"zanCount":201,"manualWeight":45,"mainColor":46},221589,"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[78,23,24,530,29,27,380,7,39,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","设色绢本","35x34",[121,101,102],{"id":2749,"slug":2750,"title":2751,"dynasty":155,"author":2752,"museum":232,"description":2753,"tags":2754,"thumbUrl":2757,"material":146,"size":2758,"collection":65,"collections":2759,"showCount":2737,"zanCount":45,"manualWeight":45,"mainColor":46},220422,"shou-shi-tu-jiang-pu-220422","寿石图","蒋溥","蒋溥（清），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正8年（1730）二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。乾隆26年(1761)四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[78,23,27,29,56,380,321,59,2755,2756,7],"海浪","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74aae3d6d0e66ce7cd8ad41fc531baf.jpg","141×41.5cm",[65,102],{"id":2761,"slug":2762,"title":2763,"dynasty":109,"author":1327,"museum":53,"description":2764,"tags":2765,"thumbUrl":2767,"material":146,"size":2768,"collection":135,"collections":2769,"showCount":2737,"zanCount":201,"manualWeight":45,"mainColor":46},219610,"zui-seng-tu-liu-song-nian-219610","醉僧图","画面左侧一遒劲苍松，顶天立地，倔强而粗壮的树身扎根于坡石之中，稳健地镇住整个画面，使古意充盈纸上。画面右上方淡笔擦出的远山和细笔轻快而流畅地勾出的浮云，使画面更增超逸出尘之气。飘然潇洒的长松针密布于画面上方，把观者的视线吸引到树荫之下的三个人物身上。中间坐于石凳之上、解衣盘礴、乘兴挥毫者，想必是“草圣”怀素，此时他所乘之兴应与身后松枝上高挂的酒葫芦有关，似为正酣的酒兴也。怀素头呈微仰之势，似不经意地提笔挥毫，颇有“信手拈来皆文章，下笔不惑皆妙墨”之神采。他微微翘起的右脚，好像正在轻轻摆动，将他那放浪形骸的性格特征更加明显。笔法劲秀的衣纹线条，转折有力而肯定，不但极准确地刻画出人物外形，更形象地表现出怀素外表狂放，内心坚贞、高洁的性情。右边一童子面对怀素持卷肃立，神情专注于其行笔之处。怀素左边，一童子左手持砚、右手握墨，似墨刚研毕，正仔细审视是否正好可用。此《醉僧图》笔法精细秀润，布景极为高古，意境静雅、淡定，人物间呼应关照、贴切妥当，神态呼之欲出、传神入微，把“草圣”以酒助书兴、运笔酣畅的场景描绘得淋漓尽致，是一幅难得的佳作。\n此图最让人动心之处就是淡定、静雅的境界。潘天寿先生在《论画残稿》中曾说道：“艺术之高下，终在境界，境界层上，一步一重天，咫尺之隔，往往辛苦一世，未必梦见。”陈子庄先生也言：“必须于性灵中发挥笔墨，于学问中培养意境。”南宋的苟安一隅，使当时很多文人多少有些失落的悲观的情怀。刘松年的这幅为怀素的写照之作，在我看来倒有几分自况之意。心不能畅怀，借酒以发之，身不能居之境，借画以图之，借醉僧之超然境界，表达自己卧游畅神之思。当然，这只是我面对刘松年这位八百年前的古人之作，做的一番遐想而已。",[78,268,23,24,27,29,33,7,59,2766,650],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cb54f38c3dcb5f0c2d377e84953eb4.jpg","纵95.8厘米，横47.8厘米",[135],{"id":2771,"slug":2772,"title":2773,"dynasty":155,"author":2774,"museum":307,"description":2775,"tags":2776,"thumbUrl":2777,"material":146,"size":2778,"collection":101,"collections":2779,"showCount":2737,"zanCount":45,"manualWeight":45,"mainColor":46},219351,"mu-ma-tu-shen-quan-219351","牧马图","沈铨","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[78,23,194,24,56,27,29,509,79,7,482,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[101,102],{"id":2781,"slug":2782,"title":2783,"dynasty":51,"author":306,"museum":307,"description":2784,"tags":2785,"thumbUrl":2786,"material":146,"size":2787,"collection":135,"collections":2788,"showCount":2737,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[23,29,26,58,33,116,7,59,957,222,36,91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（今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[78,194,23,24,25,28,29,32,30,31,33,113,37,61,38,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[121,65,102],{"id":2893,"slug":2894,"title":2895,"dynasty":155,"author":2896,"museum":1381,"description":2897,"tags":2898,"thumbUrl":2900,"material":211,"size":2901,"collection":123,"collections":2902,"showCount":2855,"zanCount":45,"manualWeight":45,"mainColor":69},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[78,23,24,56,57,58,26,36,2899,235,7,37,82],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[123],{"id":2904,"slug":2905,"title":2906,"dynasty":155,"author":2907,"museum":157,"description":2908,"tags":2909,"thumbUrl":2911,"material":344,"size":2912,"collection":135,"collections":2913,"showCount":2855,"zanCount":45,"manualWeight":45,"mainColor":69},219832,"ren-wu-ce-ye-ren-xiong-219832","人物册页","任熊","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[23,29,97,33,7,2910,171,320,410,914],"儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4150ff29e9c640b589400940438db8.jpg","27.2x34.3厘米",[135],{"id":2915,"slug":2916,"title":2917,"dynasty":109,"author":306,"museum":20,"description":2918,"tags":2919,"thumbUrl":2920,"material":370,"size":2921,"collection":121,"collections":2922,"showCount":2855,"zanCount":201,"manualWeight":45,"mainColor":46},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[78,194,23,24,29,58,36,7,38,37,33,509,30,59,61,638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[121],{"id":2924,"slug":2925,"title":2926,"dynasty":109,"author":278,"museum":53,"description":2927,"tags":2928,"thumbUrl":2929,"material":146,"size":2930,"collection":121,"collections":2931,"showCount":2932,"zanCount":201,"manualWeight":45,"mainColor":69},218933,"bu-yu-tu-li-cheng-218933","捕鱼图","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[78,23,194,24,97,57,58,36,7,35,195,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[121],55,{"id":2934,"slug":2935,"title":2936,"dynasty":51,"author":898,"museum":540,"description":2937,"tags":2938,"thumbUrl":2939,"material":146,"size":41,"collection":41,"collections":2940,"showCount":2932,"zanCount":201,"manualWeight":45,"mainColor":69},218022,"za-hua-ce-8-chen-hong-shou-218022","杂画册-8","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。",[194,23,24,97,27,29,380,638,410,116,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3872c863e7a4d020187cfd8dc2c8c712.jpg",[],{"id":2942,"slug":2943,"title":2944,"dynasty":155,"author":755,"museum":2945,"description":2946,"tags":2947,"thumbUrl":2948,"material":63,"size":41,"collection":65,"collections":2949,"showCount":2932,"zanCount":45,"manualWeight":45,"mainColor":69},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","日本大阪市立美术馆","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[78,23,97,29,57,36,31,32,58,481,171,320,172,80,38,61,37,33,82,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[65],{"id":2951,"slug":2952,"title":2953,"dynasty":51,"author":735,"museum":20,"description":2954,"tags":2955,"thumbUrl":2957,"material":355,"size":356,"collection":41,"collections":2958,"showCount":2959,"zanCount":201,"manualWeight":45,"mainColor":69},290886,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-290886","临倪瓒东冈草堂图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,57,997,26,7,2956,59,31,30,33],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6845308d6e74e26371b15c8a563743f4.jpg",[],54,{"id":2961,"slug":2962,"title":2963,"dynasty":109,"author":2964,"museum":20,"description":2965,"tags":2966,"thumbUrl":2968,"material":355,"size":356,"collection":41,"collections":2969,"showCount":2959,"zanCount":201,"manualWeight":45,"mainColor":46},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[194,23,25,57,997,7,2967,245,209,855,2634],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],{"id":2971,"slug":2972,"title":2973,"dynasty":155,"author":2974,"museum":20,"description":2975,"tags":2976,"thumbUrl":2977,"material":41,"size":41,"collection":101,"collections":2978,"showCount":2959,"zanCount":201,"manualWeight":45,"mainColor":69},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","墨梅图轴","吴昌硕","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[23,24,56,57,638,7,31,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[101,1695],{"id":2980,"slug":2981,"title":2982,"dynasty":109,"author":110,"museum":20,"description":2983,"tags":2984,"thumbUrl":2985,"material":41,"size":41,"collection":41,"collections":2986,"showCount":2959,"zanCount":45,"manualWeight":45,"mainColor":46},227640,"song-ge-guan-chao-tu-ma-yuan-227640","松阁观潮图","绢本，设色，190.9×94.5ＣＭ，美国弗利尔美术馆藏。绘山峰奇险，一轮明月与绝壁相对，山脚下古松苍劲笔直，树下凉中一人凭栏眺望，不远处应有潮水奔腾，水面上避风处二船停泊，一小童在船上正伏桌打盹，看来夜已深了。此图原题：马远松阁观潮图。然则细观之下，与王谔的风格很相似，当是明代宫廷画家之作品。",[78,23,24,194,56,57,29,58,36,7,113,33,35,59,235,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，水墨","纵131.1cm，横32cm",[],53,{"id":3040,"slug":3041,"title":3042,"dynasty":851,"author":3043,"museum":3044,"description":3045,"tags":3046,"thumbUrl":3047,"material":370,"size":3048,"collection":41,"collections":3049,"showCount":3038,"zanCount":45,"manualWeight":45,"mainColor":46},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","美国弗瑞尔美术馆","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[78,23,24,25,27,29,33,509,482,79,7,31,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],{"id":3051,"slug":3052,"title":3053,"dynasty":205,"author":3054,"museum":53,"description":3055,"tags":3056,"thumbUrl":3057,"material":545,"size":3058,"collection":65,"collections":3059,"showCount":3038,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,57,58,56,36,321,35,33,37,7,116,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[65,123],{"id":3061,"slug":3062,"title":3063,"dynasty":51,"author":3064,"museum":307,"description":3065,"tags":3066,"thumbUrl":3067,"material":270,"size":3068,"collection":65,"collections":3069,"showCount":3038,"zanCount":45,"manualWeight":45,"mainColor":46},219734,"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[78,23,24,56,57,58,36,33,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[65],{"id":3071,"slug":3072,"title":3073,"dynasty":205,"author":231,"museum":232,"description":3074,"tags":3075,"thumbUrl":3076,"material":146,"size":3077,"collection":65,"collections":3078,"showCount":3038,"zanCount":45,"manualWeight":45,"mainColor":46},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[78,23,24,25,57,29,58,32,30,31,36,113,61,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[65],{"id":3080,"slug":3081,"title":3082,"dynasty":51,"author":3083,"museum":444,"description":3084,"tags":3085,"thumbUrl":3086,"material":63,"size":3087,"collection":65,"collections":3088,"showCount":3038,"zanCount":201,"manualWeight":45,"mainColor":69},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","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。",[78,23,24,56,57,58,36,7,116,61,37,509,33,59,117,30,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[65],{"id":3090,"slug":3091,"title":3092,"dynasty":109,"author":2024,"museum":20,"description":3093,"tags":3094,"thumbUrl":3097,"material":355,"size":356,"collection":41,"collections":3098,"showCount":3099,"zanCount":45,"manualWeight":45,"mainColor":69},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[78,23,997,24,57,32,30,31,7,39,3095,3096],"沙汀","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],52,{"id":3101,"slug":3102,"title":3103,"dynasty":109,"author":585,"museum":3104,"description":3105,"tags":3106,"thumbUrl":3107,"material":344,"size":3108,"collection":41,"collections":3109,"showCount":3099,"zanCount":201,"manualWeight":45,"mainColor":46},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[78,194,23,24,25,29,36,58,27,171,320,35,172,38,39,61,37,81,33,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":3111,"slug":3112,"title":3113,"dynasty":109,"author":585,"museum":20,"description":3114,"tags":3115,"thumbUrl":3117,"material":41,"size":41,"collection":41,"collections":3118,"showCount":3099,"zanCount":201,"manualWeight":45,"mainColor":69},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。",[78,23,194,530,27,57,58,36,638,7,116,82,33,3116],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8f248e33ae44c43fac3cc6f2f01bc7.jpg",[],{"id":3120,"slug":3121,"title":3122,"dynasty":51,"author":3123,"museum":20,"description":3124,"tags":3125,"thumbUrl":3126,"material":41,"size":41,"collection":65,"collections":3127,"showCount":3099,"zanCount":201,"manualWeight":45,"mainColor":69},224548,"shu-hua-ce-ye-xiao-yun-cong-wang-shi-zhen-224548","书画册页","萧云从 王士祯","此作用笔秀逸清疏，以高远、深远之法铺展丘壑。崖壁层叠开合，飞瀑隐于岩岫之间，暗合空山有声之趣。古木虬曲苍劲，红叶点染出浅淡秋光，枝叶攒簇间尽显老辣笔力。\n\n山坳间亭台错落，有人凭栏闲眺，溪谷板桥通幽，衬出林泉雅寂。淡赭浅青敷色明润柔和，既有宋人丘壑之厚重，又具元人笔墨之灵秀。右上角题字朱印相映成趣，将山居清寂苍润之境晕染开来，尽展寄情林泉的澹泊幽怀，观之如身临秋山静居，尘嚣尽褪。",[23,24,97,29,36,58,61,37,113,7,59,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f989d94c9f8c5dbeac298d441a5964a.jpg",[65,102,1695],{"id":3129,"slug":3130,"title":3131,"dynasty":51,"author":841,"museum":94,"description":3132,"tags":3133,"thumbUrl":3134,"material":3135,"size":3136,"collection":41,"collections":3137,"showCount":3099,"zanCount":45,"manualWeight":45,"mainColor":46},222347,"pei-tai-shi-jing-tu-tang-yin-222347","沛台实景图","本幅作者自题并书七言律诗一首：“正德丙寅，奉陪大塚宰太原老先生登歌風台，謹和感古佳韻並圖其實景，呈茂化學士請教。唐寅。‘此地曾經王輦巡，比鄰爭睹帝王身。世隨邑改井猶存，碑勒風歌字失真。仗劍當時冀亡命，入關不意竟降秦。千年泗上荒台在，落日牛羊感路人。’”钤“唐居士”。另有安岐、吴璵等人收藏印记。\n唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。\n《墨缘汇观》著录。",[78,23,57,58,36,56,113,117,37,61,39,82,30,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F126f3719a8c77d49f2a16c74b15ed02a.jpg","绢本，水墨","纵26.2厘米，横23.9厘米",[],{"id":3139,"slug":3140,"title":3141,"dynasty":205,"author":3142,"museum":53,"description":3143,"tags":3144,"thumbUrl":3146,"material":3147,"size":3148,"collection":65,"collections":3149,"showCount":3099,"zanCount":250,"manualWeight":45,"mainColor":46},221771,"heng-qin-gao-shi-tu-zhou-ren-ren-fa-221771","横琴高士图轴","任仁发","老松古柏，盘生崖上。树下一人穿红袍，坐溪畔弹琴。崖壁及山石碧绿青翠，与红衣相互辉映，色彩艳丽雅致。自题：“横琴秋水拨冰弦，一曲平沙韵自然。领取此中无限乐，松枝垂露远山烟。月山老人任仁发。",[78,23,29,27,58,36,33,321,59,3145,37,7],"古琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75285fc767e213ca6f2d98a962219552.jpg","绢","146.3×55.8",[65,102],{"id":3151,"slug":3152,"title":3153,"dynasty":205,"author":306,"museum":53,"description":3154,"tags":3155,"thumbUrl":3156,"material":146,"size":3157,"collection":65,"collections":3158,"showCount":3099,"zanCount":201,"manualWeight":45,"mainColor":46},219963,"feng-yu-gui-zhou-tu-yi-ming-219963","风雨归舟图","绘风浪中艄公送客渡江的情形，主人在江阁中呈翘首企盼之态，风与浪态势十足，是元人表现风雨的佳作。",[78,23,57,56,36,35,195,7,38,37,58,3005],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c48f767776e83b70b453ae534c22dee.jpg","156.6x96.1厘米",[65],{"id":3160,"slug":3161,"title":1670,"dynasty":109,"author":306,"museum":53,"description":3162,"tags":3163,"thumbUrl":3164,"material":146,"size":3165,"collection":121,"collections":3166,"showCount":3099,"zanCount":45,"manualWeight":45,"mainColor":69},218850,"qiu-jiang-yu-ting-tu-yi-ming-218850","画面上，秋日的两岸，渔舟唱晚，文人待渡，近岸松石，远山隐于云间，野桥飞泉，贵人和僮仆无比准备，可谓是 秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[78,23,24,57,29,36,35,37,81,7,58,1064,235,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[121,65],{"id":3168,"slug":3169,"title":3170,"dynasty":205,"author":3171,"museum":53,"description":3172,"tags":3173,"thumbUrl":3174,"material":63,"size":3175,"collection":135,"collections":3176,"showCount":3099,"zanCount":45,"manualWeight":45,"mainColor":89},218831,"xiang-ma-tu-zhou-zhao-lin-218831","相马图轴","赵麟","赵麟（西元十四世纪），浙江吴兴人。雍之子，孟俯之孙，字彦征，官浙江省检校。工书，善画人物，至正壬午（一三四二年）作春山图，乙巳（一三六五年）作洗马图。赵麟画传世绝少，此帧画老树枯枝，藤萝缠绕。一人朱衣纱帽，坐树根。前一马低首啮草。其人端详视其骨相以度骏驽。人物衣褶、马之鬃鬣，皆细劲有力。树稍逊，款书极得家法。",[23,24,194,56,29,27,33,509,116,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac95bc04a45d346bbbbee2ed1b2bee5.jpg","95.7x30.1cm",[135],{"id":3178,"slug":3179,"title":3180,"dynasty":155,"author":3181,"museum":157,"description":3182,"tags":3183,"thumbUrl":3184,"material":41,"size":41,"collection":65,"collections":3185,"showCount":3099,"zanCount":45,"manualWeight":45,"mainColor":3186},202124,"fang-da-chi-shan-shui-tu-zhou-yuan-pei-202124","仿大痴山水图轴","袁沛","水墨晕染间，山峦以皴法勾勒出苍劲肌理，云雾似轻纱漫过峰谷，将远近景致晕成淡远之调。近岸枯树疏枝交错，几间屋舍倚岩而筑，小桥横卧溪上，流水绕石潺潺。中远景峰峦叠嶂，林木错落，留白处云雾氤氲，虚实相生间尽显山水悠远之趣。笔墨追摹古法，却藏着对自然的细腻体悟，清寂雅致的意境在尺幅间缓缓铺展。",[57,58,26,36,61,37,7,82,60,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06764f51623175d13cae3e16bffd6a7b.jpg",[65],"b3a088",{"id":3188,"slug":3189,"title":3190,"dynasty":51,"author":3191,"museum":94,"description":3192,"tags":3193,"thumbUrl":3194,"material":84,"size":41,"collection":41,"collections":3195,"showCount":3196,"zanCount":45,"manualWeight":45,"mainColor":69},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[78,23,24,25,29,27,57,36,33,35,37,117,509,1064,1532,7,38,114,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],51,{"id":3198,"slug":3199,"title":3200,"dynasty":51,"author":3201,"museum":540,"description":3202,"tags":3203,"thumbUrl":3204,"material":3205,"size":3206,"collection":65,"collections":3207,"showCount":3196,"zanCount":45,"manualWeight":45,"mainColor":69},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[78,23,24,25,57,58,31,32,36,7,79,59,82,38,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[65,123],{"id":3209,"slug":3210,"title":1303,"dynasty":205,"author":219,"museum":94,"description":3211,"tags":3212,"thumbUrl":3213,"material":3214,"size":3215,"collection":123,"collections":3216,"showCount":3196,"zanCount":45,"manualWeight":45,"mainColor":46},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[78,23,24,194,56,57,28,7,424,82,1317,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","绢本，墨笔","纵108.2cm，横48.8cm",[123,428],{"id":3218,"slug":3219,"title":3220,"dynasty":109,"author":3221,"museum":2142,"description":3222,"tags":3223,"thumbUrl":3224,"material":146,"size":41,"collection":65,"collections":3225,"showCount":3196,"zanCount":201,"manualWeight":45,"mainColor":664},218234,"qiu-dong-shan-shui-tu-yan-ci-ping-218234","秋冬山水图","阎次平","墨痕流转间，铺展秋冬清旷之境。近坡古木虬枝，皴擦如老鳞，凝着霜天寒意；中渚水面空濛，一叶孤舟静卧，添了几分寂寥；远山淡抹如烟，隐入云霭，层叠间藏着深远。笔墨简劲却意韵悠长，线条勾勒刚柔相济，墨色晕染浓淡相宜。枯木枝桠横斜，似在风中低语；山石错落，尽显苍劲肌理。秋冬交替的荒寒之美与静谧之趣悄然融合，尽显宋画山水的雅致深邃，引人沉入那片烟水茫茫的悠远意境里。",[194,23,24,56,57,58,36,117,59,35,39,116,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfcc4b8c4cb176ad1d96d67695e9810.jpg",[65],{"id":3227,"slug":3228,"title":562,"dynasty":109,"author":278,"museum":53,"description":3229,"tags":3230,"thumbUrl":3231,"material":370,"size":356,"collection":41,"collections":3232,"showCount":3233,"zanCount":250,"manualWeight":45,"mainColor":46},289346,"han-lin-ping-ye-tu-li-cheng-289346","从这幅《寒林平野图》上看，画面描绘的是萧瑟的隆冬平野景色。近景两株长松亭立，古柏形如苍虬，枝干交柯，老根盘结；中景河道曲折，似冰冻凝固，寒冬萧萧；远景烟霭空蒙而至天际，整幅画面给人一种空灵而又凄凉之感。清人孙承泽在《庚子消夏记》书中，他对《寒林平野图》的极高评价：“古木夭矫，雪色凛冽，寒鸦群集衰草中。暑月展之，如披北风图，令人可以挟扩，非营丘不能也。”这正是对李成最擅长的山水画笔法的诠释。尤其是图中所绘的树枝，无论粗细，均呈弧线曲形，将线条的力度发挥到最大程度，构成了中国古典山水画中最优美的线条。",[23,194,24,56,57,58,36,565,566,79,7,1574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d5e33a8b9dab4c46c24b3bd9614639.jpg",[],50,{"id":3235,"slug":3236,"title":3237,"dynasty":205,"author":3238,"museum":94,"description":3239,"tags":3240,"thumbUrl":3241,"material":84,"size":3242,"collection":65,"collections":3243,"showCount":3233,"zanCount":201,"manualWeight":45,"mainColor":69},221807,"shan-lin-qing-qu-tu-zhang-guan-221807","山林清趣图","张观","描绘江岸老树坡石之中，一老者独坐，一童子抱琴，渺茫江面一帆归来之景，右下款署“至正戊戌八月，张观制”，现藏故宫博物院；另有《月下人物图》册页，相传为其所作，藏美国纽约大都会博物馆。",[78,23,57,58,36,7,33,59,117,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8247aabb43e9b76e19440df1094c1f30.jpg","纵30厘米，横54．7厘米",[65,102],{"id":3245,"slug":3246,"title":3247,"dynasty":205,"author":433,"museum":1966,"description":3248,"tags":3249,"thumbUrl":3250,"material":146,"size":3251,"collection":135,"collections":3252,"showCount":3233,"zanCount":45,"manualWeight":45,"mainColor":46},220410,"shui-bian-gao-shi-tu-sheng-mao-220410","水边高士图","盛懋（生卒年不详）字子昭，嘉兴（今属浙江）武塘人，与吴镇同时代，且为乡邻，“比门而居”，主要活动于元至正年间。其父盛洪，是民间画工。盛懋承家学，人物、山水、花鸟，无所不工，尤善山水。其山水画多作丛山密林，表现四时朝暮的江山胜景，结构严整，笔墨清润。早年得到陈琳(赵孟頫的学生)的指点，画山石多用披麻皴或解索皴，笔法工整，设色明丽。所以他早期的画“精致有余”，而意趣不足，被时人称作“画工”之作。但他后来逐渐接受元代文人画家的影响，吸收文人画的意趣，一定程度上摆脱了“匠气”，故其作品越来越合士大夫阶层的审美情趣，元至正年间享有盛名。盛懋的画当时也很受老百姓的欢迎，“四方以金帛求子昭画者甚众”。他的传世作品较多，如《秋林高士图》《秋江待渡图》《坐看云起图》《秋溪放艇图》《山居纳凉图》等。",[78,23,57,29,58,33,36,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901490fb625dc8dea15a65bdd9778bf9.jpg","23.4×25.3",[135,65,102],{"id":3254,"slug":3255,"title":3256,"dynasty":51,"author":2876,"museum":1966,"description":3257,"tags":3258,"thumbUrl":3259,"material":63,"size":3260,"collection":65,"collections":3261,"showCount":3233,"zanCount":45,"manualWeight":45,"mainColor":69},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[78,23,24,36,29,58,37,59,7,448,245,38],"https:\u002F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“一叶随风万里身”的隐逸情思。",[23,24,56,57,58,32,30,36,35,37,7,195,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg","纵84.7厘米，横29.7厘米",[],{"id":3344,"slug":3345,"title":3346,"dynasty":51,"author":74,"museum":20,"description":3347,"tags":3348,"thumbUrl":3350,"material":41,"size":41,"collection":41,"collections":3351,"showCount":3315,"zanCount":201,"manualWeight":45,"mainColor":46},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[78,23,194,24,56,57,29,58,36,447,117,3349,855,115,7],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":3353,"slug":3354,"title":3355,"dynasty":109,"author":3356,"museum":20,"description":3357,"tags":3358,"thumbUrl":3360,"material":370,"size":3361,"collection":121,"collections":3362,"showCount":3315,"zanCount":201,"manualWeight":45,"mainColor":46},221417,"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","许道宁","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[78,23,194,24,97,57,58,36,7,116,3359],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[78,194,23,24,25,28,57,33,36,7,59,650,3417],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],{"id":3421,"slug":3422,"title":3423,"dynasty":51,"author":363,"museum":53,"description":3424,"tags":3425,"thumbUrl":3426,"material":146,"size":3427,"collection":65,"collections":3428,"showCount":3400,"zanCount":45,"manualWeight":45,"mainColor":46},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[78,23,24,194,29,58,36,33,37,7,82,235,1244,117,1805,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[65,102],{"id":3430,"slug":3431,"title":3432,"dynasty":109,"author":3433,"museum":444,"description":3434,"tags":3435,"thumbUrl":3438,"material":146,"size":3439,"collection":102,"collections":3440,"showCount":3400,"zanCount":45,"manualWeight":45,"mainColor":664},219199,"mei-que-shuang-e-tu-wang-ning-219199","梅鹊双鹅图","王凝","此图构图新颖,一支细长的枝杈贯穿全图,分叉垂直树干而上,树冠顶端有两只可爱的喜鹊停留.",[23,194,24,56,27,29,380,638,1076,3436,7,424,39,3437],"鹅","禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ee136b10d1f54c70e4e73a1c7fac0.jpg","168.5x93.4",[102],{"id":3442,"slug":3443,"title":3444,"dynasty":51,"author":841,"museum":307,"description":3445,"tags":3446,"thumbUrl":3447,"material":146,"size":3448,"collection":41,"collections":3449,"showCount":3400,"zanCount":201,"manualWeight":45,"mainColor":46},218342,"ren-wu-gu-shi-ce-7-tang-yin-218342","人物故事册-7","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[78,194,23,24,97,29,27,33,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b9e28443792172ef7912cf70bbfdee.jpg","32x40.5",[],{"id":3451,"slug":3452,"title":3453,"dynasty":155,"author":377,"museum":20,"description":3454,"tags":3455,"thumbUrl":3456,"material":41,"size":41,"collection":41,"collections":3457,"showCount":3458,"zanCount":45,"manualWeight":45,"mainColor":69},235620,"shan-shui-zhou-zhu-da-235620","山水轴","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。",[23,24,56,57,58,36,82,7,116,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],47,{"id":3460,"slug":3461,"title":3462,"dynasty":155,"author":3463,"museum":20,"description":3464,"tags":3465,"thumbUrl":3466,"material":41,"size":41,"collection":41,"collections":3467,"showCount":3458,"zanCount":45,"manualWeight":45,"mainColor":69},230298,"fang-ni-zan-shan-shui-ce-cha-shi-biao-230298","仿倪瓒山水册","查士标","此作用淡墨轻写，意境萧疏清寂。双松挺峙画面中心，枝干枯笔皴擦，清瘦古劲，松针簇簇写意点染，简而有神。旁侧湖石奇崛，勾勒皴擦极简，尽显玲珑古拙之态。远山以淡墨晕染留白，虚实相生，漾着空濛淡远之致。边角茅舍板桥静立，不见人影却暗合幽居雅意，暗承逸笔草草的旨趣。全幅笔墨松灵简净，淡墨轻岚间尽显林下幽冷出尘的意趣，于极简淡的尺幅里，藏着澹然出尘的文人情思。",[23,57,58,26,30,31,97,36,7,82,448,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ea8fd0934d7a09654b2d44ef119846.jpg",[],{"id":3469,"slug":3470,"title":3471,"dynasty":51,"author":2721,"museum":94,"description":3472,"tags":3473,"thumbUrl":3474,"material":1615,"size":3475,"collection":65,"collections":3476,"showCount":3458,"zanCount":201,"manualWeight":45,"mainColor":69},222160,"kuo-zhu-yao-feng-tu-zhou-li-zai-222160","阔渚遥峰图轴","此作曾经被误定为北宋郭熙所绘，后在画面上发现李在的印记，于是正名。\n作品取全景式山水，气势宏阔，皴笔细密扎实，墨韵浑厚，画树木呈“蟹爪枝”状，从意境和笔法来看，确实与郭熙极为相似，是典型的北派山水面貌。",[78,23,194,56,36,58,113,61,37,35,7,59,117,80,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb459656d4d1747466ba4346c2db73e.jpg","纵165.2厘米，横90.4厘米",[65,123],{"id":3478,"slug":3479,"title":3480,"dynasty":109,"author":3481,"museum":20,"description":3482,"tags":3483,"thumbUrl":3484,"material":370,"size":3485,"collection":121,"collections":3486,"showCount":3458,"zanCount":45,"manualWeight":45,"mainColor":46},221423,"mo-tang-wang-you-cheng-jiang-gan-xue-ji-tu-juan-yan-wen-gui-221423","摹唐王右丞江干雪霁图卷","燕文贵","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[78,194,23,24,25,26,36,58,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F502e8ef62b5bf7a6eef655aaac89f06e.jpg","25.7x144cm",[121,65,123],{"id":3488,"slug":3489,"title":3490,"dynasty":51,"author":735,"museum":53,"description":3491,"tags":3492,"thumbUrl":3494,"material":370,"size":1139,"collection":65,"collections":3495,"showCount":3458,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,194,23,24,56,58,29,32,31,30,36,7,116,3493,38,37,59],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd267582e0fb38cd6c5d23cf8ca4e0a.jpg",[65,102],{"id":3497,"slug":3498,"title":3499,"dynasty":1178,"author":2284,"museum":1702,"description":3500,"tags":3501,"thumbUrl":3507,"material":41,"size":41,"collection":41,"collections":3508,"showCount":3458,"zanCount":201,"manualWeight":45,"mainColor":69},220571,"tai-ge-er-xiang-xu-bei-hong-220571","泰戈尔像","以写实笔意塑造文豪风骨，银丝覆顶，白髯垂胸，镜片后眼眸低垂凝注纸笔，握笔的手沉稳松弛，将他沉浸思绪的模样细腻铺陈。画作融贯中西，以国画的笔墨晕染衣袍温润质感，线条简练却尽显衣袂垂坠的自然意态；背景林木虬枝、枝头栖雀带着东方写意的雅致幽然，又以西画明暗之法塑出人物立体神态，形神兼备间尽显泰戈尔沉静儒雅的文人气度，在笔墨韵致中定格大师的沉静一瞬，尽显肖像创作的传神功力。",[78,23,29,33,39,7,3502,3503,3504,3505,3506,57],"长袍","书籍","白须","白发","眼镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac0d59a5f05e96478d43c7b175ae122.jpg",[],{"id":3510,"slug":3511,"title":468,"dynasty":51,"author":130,"museum":307,"description":3512,"tags":3513,"thumbUrl":3514,"material":211,"size":3515,"collection":65,"collections":3516,"showCount":3458,"zanCount":201,"manualWeight":45,"mainColor":69},219772,"han-lin-tu-wen-zheng-ming-219772","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[78,23,57,56,58,36,79,7,59,37,565,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[65],{"id":3518,"slug":3519,"title":3520,"dynasty":205,"author":219,"museum":232,"description":3521,"tags":3522,"thumbUrl":3523,"material":146,"size":3524,"collection":101,"collections":3525,"showCount":3458,"zanCount":45,"manualWeight":45,"mainColor":46},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[23,194,24,29,33,509,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[101],{"id":3527,"slug":3528,"title":3529,"dynasty":51,"author":363,"museum":53,"description":3530,"tags":3531,"thumbUrl":3532,"material":146,"size":3533,"collection":101,"collections":3534,"showCount":3458,"zanCount":201,"manualWeight":45,"mainColor":46},218808,"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[23,194,56,29,27,33,1169,482,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[101],{"id":3536,"slug":3537,"title":129,"dynasty":205,"author":2552,"museum":53,"description":3538,"tags":3539,"thumbUrl":3540,"material":146,"size":3541,"collection":65,"collections":3542,"showCount":3458,"zanCount":201,"manualWeight":45,"mainColor":46},218462,"shan-shui-tu-tang-di-218462","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[78,23,194,36,295,29,33,113,7,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[65],{"id":3544,"slug":3545,"title":3546,"dynasty":51,"author":841,"museum":307,"description":3445,"tags":3547,"thumbUrl":3548,"material":146,"size":3448,"collection":41,"collections":3549,"showCount":3458,"zanCount":201,"manualWeight":45,"mainColor":46},218349,"ren-wu-gu-shi-ce-2-tang-yin-218349","人物故事册-2",[78,23,24,97,29,33,195,82,7,1317,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca306525f4cf012010116dad3d5517c.jpg",[],{"id":3551,"slug":3552,"title":1017,"dynasty":109,"author":1018,"museum":20,"description":3553,"tags":3554,"thumbUrl":3555,"material":355,"size":356,"collection":41,"collections":3556,"showCount":3557,"zanCount":201,"manualWeight":45,"mainColor":46},288643,"shu-se-ping-yuan-tu-guo-xi-288643","描绘的是一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。",[194,23,24,25,57,36,7,38,61,35,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],46,{"id":3559,"slug":3560,"title":3561,"dynasty":155,"author":2065,"museum":157,"description":3562,"tags":3563,"thumbUrl":3564,"material":344,"size":41,"collection":65,"collections":3565,"showCount":3557,"zanCount":201,"manualWeight":45,"mainColor":69},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。",[23,57,58,56,36,7,116,33,114,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[65],{"id":3567,"slug":3568,"title":3569,"dynasty":109,"author":1018,"museum":94,"description":3570,"tags":3571,"thumbUrl":3574,"material":1615,"size":3575,"collection":41,"collections":3576,"showCount":3557,"zanCount":201,"manualWeight":45,"mainColor":69},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[23,24,97,36,57,58,35,7,59,37,117,3572,2633,235,3573],"帆船","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg","纵26.2厘米，横27厘米",[],{"id":3578,"slug":3579,"title":1560,"dynasty":205,"author":1551,"museum":53,"description":3580,"tags":3581,"thumbUrl":3582,"material":211,"size":3583,"collection":65,"collections":3584,"showCount":3557,"zanCount":201,"manualWeight":45,"mainColor":69},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[78,23,194,24,36,57,58,235,1564,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[65],{"id":3586,"slug":3587,"title":3588,"dynasty":51,"author":3589,"museum":232,"description":3590,"tags":3591,"thumbUrl":3592,"material":146,"size":3593,"collection":101,"collections":3594,"showCount":3557,"zanCount":201,"manualWeight":45,"mainColor":46},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。",[23,24,380,27,29,638,410,82,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[101],{"id":3596,"slug":3597,"title":129,"dynasty":205,"author":3598,"museum":53,"description":3599,"tags":3600,"thumbUrl":3602,"material":211,"size":3603,"collection":65,"collections":3604,"showCount":3557,"zanCount":45,"manualWeight":45,"mainColor":46},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",[78,23,24,57,58,36,59,117,116,7,3601],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[65],{"id":3606,"slug":3607,"title":3608,"dynasty":51,"author":306,"museum":307,"description":308,"tags":3609,"thumbUrl":3610,"material":63,"size":41,"collection":41,"collections":3611,"showCount":3557,"zanCount":201,"manualWeight":45,"mainColor":69},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)",[78,23,57,97,26,36,7,79,38,37,61,59,117,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":3613,"slug":3614,"title":3615,"dynasty":109,"author":3616,"museum":2945,"description":3617,"tags":3618,"thumbUrl":3620,"material":146,"size":3621,"collection":101,"collections":3622,"showCount":3557,"zanCount":201,"manualWeight":45,"mainColor":46},216666,"ju-yuan-tu-yi-yuan-ji-216666","聚猿图","易元吉","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。",[78,194,23,24,25,27,58,57,3619,116,7,59,30],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg","纵41.3厘米，横146厘米",[101],{"id":3624,"slug":3625,"title":3626,"dynasty":51,"author":841,"museum":20,"description":3627,"tags":3628,"thumbUrl":3629,"material":355,"size":356,"collection":41,"collections":3630,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":46},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,194,56,24,36,29,61,37,60,7,59,38,31,30,2321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],45,{"id":3633,"slug":3634,"title":830,"dynasty":109,"author":3635,"museum":20,"description":3636,"tags":3637,"thumbUrl":3639,"material":355,"size":356,"collection":41,"collections":3640,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":46},287639,"shui-cun-tu-zhao-ling-rang-287639","赵令穰","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[194,23,24,56,29,295,36,61,37,35,7,3638],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],{"id":3642,"slug":3643,"title":3644,"dynasty":109,"author":330,"museum":20,"description":3645,"tags":3646,"thumbUrl":3647,"material":355,"size":356,"collection":41,"collections":3648,"showCount":3631,"zanCount":201,"manualWeight":45,"mainColor":46},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。",[194,23,24,57,3619,482,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F785fa0ecef9736a94643b20966a7cfc7.jpg",[],{"id":3650,"slug":3651,"title":3652,"dynasty":51,"author":898,"museum":20,"description":3653,"tags":3654,"thumbUrl":3655,"material":41,"size":41,"collection":41,"collections":3656,"showCount":3631,"zanCount":201,"manualWeight":45,"mainColor":46},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[78,23,24,194,56,29,33,34,7,59,297,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":3658,"slug":3659,"title":3660,"dynasty":109,"author":3661,"museum":94,"description":3662,"tags":3663,"thumbUrl":3664,"material":3665,"size":3666,"collection":41,"collections":3667,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":46},223513,"liu-yin-gao-shi-tu-wang-shen-223513","柳荫高士图","王诜","北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[78,23,24,29,27,33,1827,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe087bce9ee900ca12a83d8169b36bf3.jpg","轴绢本设色","76×46.4厘米",[],{"id":3669,"slug":3670,"title":3671,"dynasty":155,"author":406,"museum":53,"description":3672,"tags":3673,"thumbUrl":3674,"material":545,"size":3675,"collection":65,"collections":3676,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":69},222762,"shi-er-yue-ling-tu-3-yue-lang-shi-ning-222762","十二月令图（3月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[78,23,24,27,29,294,36,113,61,33,638,1691,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb50432efba99c7f32f6febcb77dac6.jpg","188.2*102.2cm",[65,102],{"id":3678,"slug":3679,"title":3680,"dynasty":109,"author":2407,"museum":94,"description":2408,"tags":3681,"thumbUrl":3682,"material":2411,"size":2412,"collection":1695,"collections":3683,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":69},221620,"hou-chi-bi-tu-zhao-gou-shu-fu-juan-quan-juan-ma-he-zhi-221620","后赤壁图赵构书赋卷全卷",[78,23,194,25,24,32,57,58,30,35,37,7,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccaebc0284553636c09753513a1edf6.jpg",[1695],{"id":3685,"slug":3686,"title":3687,"dynasty":109,"author":3635,"museum":20,"description":3688,"tags":3689,"thumbUrl":3690,"material":370,"size":3691,"collection":121,"collections":3692,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":46},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","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。",[78,23,24,36,29,58,7,39,37,61,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[121],{"id":3694,"slug":3695,"title":3696,"dynasty":18,"author":3697,"museum":53,"description":3698,"tags":3699,"thumbUrl":3700,"material":29,"size":3701,"collection":65,"collections":3702,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":69},221013,"yun-tai-shan-tu-xun-xu-221013","云台山图","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[78,23,24,36,29,58,37,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[65,102],{"id":3704,"slug":3705,"title":3706,"dynasty":205,"author":306,"museum":53,"description":3707,"tags":3708,"thumbUrl":3710,"material":146,"size":3711,"collection":65,"collections":3712,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,1205,25,58,29,36,116,7,38,235,37,1208,3709,35,117,855],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[65],{"id":3714,"slug":3715,"title":3716,"dynasty":51,"author":898,"museum":540,"description":2937,"tags":3717,"thumbUrl":3718,"material":146,"size":41,"collection":41,"collections":3719,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":69},218030,"za-hua-ce-2-chen-hong-shou-218030","杂画册-2",[23,29,27,97,36,7,38,59,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38eb9371d6aa7cd61a3084575edc15.jpg",[],{"id":3721,"slug":3722,"title":3723,"dynasty":51,"author":3724,"museum":53,"description":3725,"tags":3726,"thumbUrl":3727,"material":211,"size":3728,"collection":135,"collections":3729,"showCount":3631,"zanCount":45,"manualWeight":45,"mainColor":69},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[23,194,24,56,57,28,58,33,1169,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[135],{"id":3731,"slug":3732,"title":3733,"dynasty":205,"author":433,"museum":53,"description":3734,"tags":3735,"thumbUrl":3736,"material":270,"size":3737,"collection":41,"collections":3738,"showCount":3739,"zanCount":201,"manualWeight":45,"mainColor":46},287543,"song-xi-fan-yue-zhou-sheng-mao-287543","松溪泛月轴","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[194,23,24,56,36,57,29,58,297,37,35,7,59,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],44,{"id":3741,"slug":3742,"title":3743,"dynasty":51,"author":52,"museum":94,"description":3744,"tags":3745,"thumbUrl":3746,"material":344,"size":3747,"collection":41,"collections":3748,"showCount":3739,"zanCount":45,"manualWeight":45,"mainColor":69},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,97,57,36,32,30,58,113,321,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg","28.5*25.5cm",[],{"id":3750,"slug":3751,"title":3752,"dynasty":109,"author":265,"museum":20,"description":3753,"tags":3754,"thumbUrl":3756,"material":41,"size":41,"collection":41,"collections":3757,"showCount":3739,"zanCount":45,"manualWeight":45,"mainColor":46},227747,"dong-ting-qiu-yue-tu-xia-gui-227747","洞庭秋月图","《洞庭秋月图》是宋代画家夏圭创作的绢本水墨画，现藏于美国弗利尔美术馆。\n\n《洞庭秋月图》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。",[78,23,24,194,56,57,58,36,297,7,82,209,3755],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":3759,"slug":3760,"title":3761,"dynasty":155,"author":1114,"museum":20,"description":2153,"tags":3762,"thumbUrl":3763,"material":355,"size":356,"collection":41,"collections":3764,"showCount":3739,"zanCount":201,"manualWeight":45,"mainColor":69},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面",[78,23,24,530,57,58,36,38,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":3766,"slug":3767,"title":3768,"dynasty":109,"author":1977,"museum":53,"description":3769,"tags":3770,"thumbUrl":3771,"material":1087,"size":3772,"collection":121,"collections":3773,"showCount":3739,"zanCount":45,"manualWeight":45,"mainColor":46},221613,"guan-pu-tu-zhou-liang-kai-221613","观瀑图轴","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。",[78,194,23,24,56,57,58,33,116,7,447,59,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","135.9x64.1厘米",[121,65,102],{"id":3775,"slug":3776,"title":3777,"dynasty":51,"author":3778,"museum":94,"description":3779,"tags":3780,"thumbUrl":3781,"material":344,"size":3782,"collection":102,"collections":3783,"showCount":3739,"zanCount":201,"manualWeight":45,"mainColor":69},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","项圣谟","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[78,23,56,29,7,33,36,82,235,114,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[102],{"id":3785,"slug":3786,"title":3660,"dynasty":109,"author":306,"museum":53,"description":3787,"tags":3788,"thumbUrl":3790,"material":146,"size":3791,"collection":121,"collections":3792,"showCount":3739,"zanCount":45,"manualWeight":45,"mainColor":46},219693,"liu-yin-gao-shi-tu-yi-ming-219693","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[78,23,24,56,29,27,58,33,1827,7,3789,222],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[121,135],{"id":3794,"slug":3795,"title":3796,"dynasty":51,"author":1944,"museum":307,"description":3797,"tags":3798,"thumbUrl":3799,"material":270,"size":3800,"collection":135,"collections":3801,"showCount":3739,"zanCount":45,"manualWeight":45,"mainColor":46},218514,"yu-fu-tu-wu-wei-218514","渔夫图","该图描绘了一个渔夫在溪边的老柳树下捕捉一条新鲜的鱼。人物造型细致，渔夫捕鱼的喜悦之情刻画得淋漓尽致，山水、服饰用笔浑厚，面部和手脚用笔精细，是吴伟人物的典型特征。",[78,23,24,56,57,33,7,1317,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e15e29ad6e911cc0f9de6f8bd082ea.jpg","195.8x102",[135],{"id":3803,"slug":3804,"title":3805,"dynasty":155,"author":3806,"museum":1483,"description":3807,"tags":3808,"thumbUrl":3809,"material":146,"size":3810,"collection":65,"collections":3811,"showCount":3739,"zanCount":45,"manualWeight":45,"mainColor":69},217924,"shan-jing-tu-liu-du-217924","山景图","刘度","刘度的山景图画风细腻，笔墨流畅，富有张力，写意洒脱。他善于描绘山川的峰峦、水流的曲折、云雾的缭绕，营造出一种幽静的气氛。刘度的山水画作品常以山水中的人物为主，人物造型优美，神态自然，与山水相互映衬，互相辉映，给人以感性的享受。\n\n刘度的山景图在清朝时期颇受欢迎，被誉为“山水画圣”。他的著名作品有《山城图》、《江南图》、《渔隐图》等。这些作品不仅展现了刘度独特的艺术风格，而且也揭示了他对中国传统文化的热爱和对自然界的敬畏。\n\n在刘度的山景图中，我们不仅能感受到他对山水的热爱和描绘的精细，还能感受到他对自然的尊敬和对传统文化的执着。这些作品不仅是一种艺术的瑰宝",[23,57,58,36,61,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ca116a0bcaa406e268e8884a1a2c78.jpg","32.1x36.2cm",[65],{"id":3813,"slug":3814,"title":3815,"dynasty":205,"author":3816,"museum":94,"description":3817,"tags":3818,"thumbUrl":3821,"material":197,"size":3822,"collection":41,"collections":3823,"showCount":3824,"zanCount":201,"manualWeight":45,"mainColor":46},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。",[23,56,57,29,36,58,59,117,3819,447,3820,33,509,37,116,7,565,448],"积雪","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","97.4×41.2cm",[],43,{"id":3826,"slug":3827,"title":3828,"dynasty":51,"author":3191,"museum":20,"description":3829,"tags":3830,"thumbUrl":3831,"material":355,"size":356,"collection":41,"collections":3832,"showCount":3824,"zanCount":45,"manualWeight":45,"mainColor":69},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[78,194,23,57,29,27,294,33,113,61,38,7,37,395,117,681,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":3834,"slug":3835,"title":3836,"dynasty":51,"author":3724,"museum":2691,"description":3837,"tags":3838,"thumbUrl":3840,"material":29,"size":3841,"collection":65,"collections":3842,"showCount":3824,"zanCount":45,"manualWeight":45,"mainColor":46},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[78,23,24,56,57,29,27,58,36,33,7,79,80,856,3839,448,30],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[65,123],{"id":3844,"slug":3845,"title":3846,"dynasty":1178,"author":2284,"museum":1702,"description":3847,"tags":3848,"thumbUrl":3849,"material":41,"size":41,"collection":41,"collections":3850,"showCount":3824,"zanCount":250,"manualWeight":45,"mainColor":69},220551,"xi-shan-gu-song-bai-xu-bei-hong-220551","西山古松柏","以苍劲笔触绘就古松柏，皴擦出躯干上的斑驳纹路，枯洞褶皱尽展百年风霜。虬枝探向长空，松针攒簇如墨团，尽显沉浑古拙的嶙峋意气。远景山峦以淡墨晕染，空濛如云烟，衬出古木的挺拔雄浑。山涧清溪穿石而过，水纹灵动柔婉，石畔点缀细草闲花，为森然古意添入秀润生机。将写实技法融入传统山水意境里，刚劲古木和灵秀溪山相生相融，铺展出幽寂苍莽的山林意趣，尽显古林历经岁月沉淀的沉静风骨。",[78,23,29,57,36,7,2622,484,37,855,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb974502207d48b0cf1049a77a0cd67.jpg",[],{"id":3852,"slug":3853,"title":3854,"dynasty":205,"author":2552,"museum":540,"description":3855,"tags":3856,"thumbUrl":3858,"material":211,"size":3859,"collection":123,"collections":3860,"showCount":3824,"zanCount":45,"manualWeight":45,"mainColor":46},220426,"song-xi-gui-yu-tu-tang-di-220426","松溪归渔图","唐棣(1287–1355)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文。",[78,24,23,997,58,29,56,2622,37,61,59,1118,7,3857,81],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035ce24fe5889e9c85d096ccf8fbc2fd.jpg","134.3x86cm",[123],{"id":3862,"slug":3863,"title":3864,"dynasty":51,"author":3865,"museum":53,"description":3866,"tags":3867,"thumbUrl":3868,"material":57,"size":3869,"collection":123,"collections":3870,"showCount":3824,"zanCount":45,"manualWeight":45,"mainColor":69},219296,"shi-jia-mu-ni-fu-zhou-ding-yun-peng-219296","释迦牟尼佛轴","丁云鹏","此帧画法相庄严的释迦牟尼佛，其双手结禅定印，结跏趺坐于娑罗树下。通幅全用墨笔钩染，不着颜色。人物衣纹线条圆润流畅，释迦牟尼佛身后的老树盘结，树叶或以墨点，或用钩勒，墨色虽有深浅的变化，但已具装饰性。全作笔法生动而富变化，别有一种古拙浑厚的意趣。此帧款云：「佛子丁云鹏敬写」，但未署年款。根据它的画风特色与幅上两则邹之麟的题识，推测此画当成于1606年以后，约为丁氏六十余岁之作。",[23,24,56,650,33,28,57,7,913,1317,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79db6107aefbfd5dd16156dfd05f3f4.jpg","156.8x53.1",[123],{"id":3872,"slug":3873,"title":3874,"dynasty":51,"author":306,"museum":307,"description":308,"tags":3875,"thumbUrl":3876,"material":63,"size":41,"collection":41,"collections":3877,"showCount":3824,"zanCount":45,"manualWeight":45,"mainColor":69},217952,"ming-ren-shan-shui-hua-ce-san-yi-ming-217952","明人山水画册(三)",[78,23,24,97,57,29,36,38,61,82,321,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239dd48d883d23420a8004f26072dd6a.jpg",[],{"id":3879,"slug":3880,"title":3881,"dynasty":51,"author":3865,"museum":20,"description":3882,"tags":3883,"thumbUrl":3884,"material":270,"size":41,"collection":135,"collections":3885,"showCount":3824,"zanCount":45,"manualWeight":45,"mainColor":69},217055,"bai-miao-ying-zhen-tu-2-ding-yun-peng-217055","白描应真图-2","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[23,24,25,650,28,33,7,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e22d21a4546a2f44db8635013c06ce4.jpg",[135],{"id":3887,"slug":3888,"title":3889,"dynasty":51,"author":3890,"museum":157,"description":3891,"tags":3892,"thumbUrl":3896,"material":63,"size":3897,"collection":41,"collections":3898,"showCount":3824,"zanCount":201,"manualWeight":45,"mainColor":69},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[23,29,295,36,380,321,7,914,913,3893,39,115,638,1119,2028,3894,3895],"兔子","设色山水","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg","纵31.2 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年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[78,23,57,25,31,30,58,36,59,117,447,3820,235,367,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[65],{"id":4080,"slug":4081,"title":4082,"dynasty":205,"author":306,"museum":53,"description":4083,"tags":4084,"thumbUrl":4085,"material":57,"size":4086,"collection":123,"collections":4087,"showCount":4022,"zanCount":45,"manualWeight":45,"mainColor":46},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[78,23,57,58,31,30,36,7,61,37,82,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[123],{"id":4089,"slug":4090,"title":4091,"dynasty":51,"author":4092,"museum":444,"description":4093,"tags":4094,"thumbUrl":4095,"material":63,"size":4096,"collection":65,"collections":4097,"showCount":4022,"zanCount":201,"manualWeight":45,"mainColor":69},219677,"fang-gu-shan-shui-ce-yun-xiang-219677","仿古山水册","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[97,29,32,30,58,36,171,7,35,37,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9216d1ebee0a965f0c8cc37df5f44c.jpg","26x15.2",[65],{"id":4099,"slug":4100,"title":4101,"dynasty":155,"author":909,"museum":157,"description":4102,"tags":4103,"thumbUrl":4104,"material":146,"size":4105,"collection":102,"collections":4106,"showCount":4022,"zanCount":45,"manualWeight":45,"mainColor":69},219217,"cui-yu-he-ming-tu-hua-yan-219217","翠羽和鸣图","图绘春天繁花吐芳,禽鸟欢腾的喧嚣情景.画家通过禽鸟生动的形态和诱人的粉色,烘染出春光明媚的氛围.",[23,29,27,56,39,380,7,409,82,413,1769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678e3c3bb0d57d844c094fac8c221dc5.jpg","177.2x97.4",[102],{"id":4108,"slug":4109,"title":4110,"dynasty":155,"author":306,"museum":232,"description":4111,"tags":4112,"thumbUrl":4113,"material":146,"size":4114,"collection":65,"collections":4115,"showCount":4022,"zanCount":45,"manualWeight":45,"mainColor":69},218093,"huang-cun-du-shu-yi-ming-218093","荒村独尌","这幅画主要描写了荒凉的村庄和孤独的农夫生活。表达了农民面对贫穷和困难时的悲惨心情。该画中使用了许多自然形象，如荒芜的田野、萧条的树木、寂寞的河流等，来描绘出农民贫困的生活环境。",[78,23,56,57,29,36,7,424,80,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2315df54f03804acdb72342539551.jpg","94x44.6cm",[65],{"id":4117,"slug":4118,"title":4119,"dynasty":109,"author":4120,"museum":20,"description":4121,"tags":4122,"thumbUrl":4124,"material":355,"size":356,"collection":41,"collections":4125,"showCount":4126,"zanCount":45,"manualWeight":45,"mainColor":69},290864,"ke-si-shan-shui-zhou-shen-zi-fan-290864","缂丝山水轴","沈子蕃","祖籍定州孟家庄。缂丝名匠。",[194,23,56,4123,295,29,36,38,61,37,35,7,59,30],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34435ac0ec43f64123746736c26b0390.jpg",[],39,{"id":4128,"slug":4129,"title":4130,"dynasty":155,"author":1040,"museum":20,"description":4131,"tags":4132,"thumbUrl":4133,"material":41,"size":41,"collection":65,"collections":4134,"showCount":4126,"zanCount":45,"manualWeight":45,"mainColor":69},235638,"shan-shui-tu-ce-wu-li-235638","山水图册","此作用笔苍秀，干笔皴擦间墨色清润澹远。近岸枯木虬曲，石径隐于荒草间，寒林错落自具苍劲姿态。水畔茅亭孑立，空无一人，愈发衬出周遭岑寂。远景汀渚层叠，烟波留白晕出水天浩渺，将江南水滨冬日的荒寒淡远尽数铺陈。\n\n画面萧疏冷寂，题句呼应着幽栖独处的意趣，以简淡笔墨写尽林泉幽致，尽显文人画的雅致襟怀，把避俗幽居的澹泊心境融于山水间，空濛冷逸，意境萧散清远。",[23,57,36,97,58,38,7,37,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd513fedc147c373822b59addc09428d0.jpg",[65],{"id":4136,"slug":4137,"title":3743,"dynasty":51,"author":52,"museum":94,"description":3744,"tags":4138,"thumbUrl":4139,"material":344,"size":3747,"collection":41,"collections":4140,"showCount":4126,"zanCount":45,"manualWeight":45,"mainColor":69},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089",[23,24,97,57,32,58,36,171,320,172,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg",[],{"id":4142,"slug":4143,"title":4144,"dynasty":51,"author":52,"museum":53,"description":4145,"tags":4146,"thumbUrl":4148,"material":344,"size":41,"collection":41,"collections":4149,"showCount":4126,"zanCount":201,"manualWeight":45,"mainColor":69},222091,"tai-jing-lin-ting-tu-shen-zhou-222091","苔迳林亭图","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。",[78,530,57,58,36,38,7,59,4147,30],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a2b67b5b31a4fb17975c34793c69e7.jpg",[],{"id":4151,"slug":4152,"title":4153,"dynasty":155,"author":977,"museum":20,"description":4154,"tags":4155,"thumbUrl":4156,"material":344,"size":41,"collection":65,"collections":4157,"showCount":4126,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,530,57,58,36,116,7,681,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2d65fab42a70cd08850963b499af.jpg",[65,123],{"id":4159,"slug":4160,"title":4161,"dynasty":155,"author":1114,"museum":232,"description":4162,"tags":4163,"thumbUrl":4166,"material":211,"size":4167,"collection":65,"collections":4168,"showCount":4126,"zanCount":45,"manualWeight":45,"mainColor":69},219355,"han-tang-xi-chi-tu-wang-hui-219355","寒塘鸂鶒图","《寒塘鸂鶒图》描绘的是江南随处可见的池塘一角，有稀疏的草木、零散的荷叶苇草，以及在当中玩耍的水鸟。近景向中远景延伸，墨色渐渐转淡，隐隐约约可以看见一些景物，相当朦胧虚幻，彷彿隔着一片薄雾，富有诗意。",[78,23,24,57,58,4164,381,382,7,82,4165],"塘","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4dce38db866812034183e07f13c1b6.jpg","73 x 41.6 公分",[65,101],{"id":4170,"slug":4171,"title":4172,"dynasty":155,"author":1114,"museum":94,"description":4173,"tags":4174,"thumbUrl":4175,"material":41,"size":41,"collection":65,"collections":4176,"showCount":4177,"zanCount":45,"manualWeight":45,"mainColor":69},236459,"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,56,57,58,26,36,321,1279,59,37,39,61,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[65,123,1695],38,{"id":4179,"slug":4180,"title":4181,"dynasty":155,"author":4182,"museum":20,"description":4183,"tags":4184,"thumbUrl":4185,"material":41,"size":41,"collection":41,"collections":4186,"showCount":4177,"zanCount":250,"manualWeight":45,"mainColor":69},230114,"ren-wu-tu-ce-sun-huang-230114","人物图册","孙璜","此作为圆光小品，以柔婉笔致勾勒春闺闲景。垂柳丝绦轻曳，梅枝缀花斜伸，归燕剪破柔空，晕开春日融融暖意。两位仕女依偎苍奇湖石，衣袂舒展如云，侧身絮语、含笑倾听，将深闺密友间的亲昵静好藏在眉眼唇角。设色清润雅致，线条秀逸细腻，湖石皴染苍润兼具，花木点染鲜活灵动，将江南春景的柔媚与闺中女子的温婉心绪相融，把寻常闺间闲情晕染出淡远诗意，尽显小品仕女画的雅致情致。",[23,24,97,27,29,33,34,82,39,1827,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52a6a6b3652582c52ba826c2e362e90.jpg",[],{"id":4188,"slug":4189,"title":4190,"dynasty":109,"author":306,"museum":20,"description":4191,"tags":4192,"thumbUrl":4193,"material":41,"size":41,"collection":41,"collections":4194,"showCount":4177,"zanCount":201,"manualWeight":45,"mainColor":46},227922,"cao-tang-xiao-xia-tu-yi-ming-227922","草堂消夏图","石青石绿晕染出山居底色，古雅沉静。茅舍临波而建，蕉叶舒展、修竹藏幽，枯木疏朗点破夏寂，水色澹澹漫过阶前，将暑热涤荡一空。\n\n屋内二人对坐清谈，案间茶卷相依，不必摇扇，林泉间的幽凉便漫进草堂。笔墨工秀柔润，把夏日山居的闲静雅致铺陈开来，将耽于林泉、忘忧消暑的隐逸意趣藏在尺幅团扇里，满是冲淡安和的林下之风，尽显清旷襟怀。",[78,23,24,530,29,27,36,33,7,424,82,588,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":4196,"slug":4197,"title":2505,"dynasty":109,"author":585,"museum":20,"description":4198,"tags":4199,"thumbUrl":4200,"material":41,"size":41,"collection":41,"collections":4201,"showCount":4177,"zanCount":45,"manualWeight":45,"mainColor":46},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[78,194,23,24,36,33,1169,7,29,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":4203,"slug":4204,"title":4205,"dynasty":109,"author":265,"museum":20,"description":3753,"tags":4206,"thumbUrl":4207,"material":41,"size":41,"collection":41,"collections":4208,"showCount":4177,"zanCount":45,"manualWeight":45,"mainColor":46},227730,"dong-ting-qiu-yue-tu-xiao-xia-gui-227730","洞庭秋月图（小）",[78,23,194,24,56,57,36,297,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706adea0be21d3e2be8c5b05315e7cc4.jpg",[],{"id":4210,"slug":4211,"title":4212,"dynasty":155,"author":2387,"museum":157,"description":4213,"tags":4214,"thumbUrl":4215,"material":344,"size":4216,"collection":41,"collections":4217,"showCount":4177,"zanCount":201,"manualWeight":45,"mainColor":69},219849,"ba-jing-shan-shui-tu-7-gong-xian-219849","八景山水图-7","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[23,24,57,58,97,36,7,38,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f27d3eb0436efd20ff9adb685861332.jpg","24.4x49.7厘米",[],{"id":4219,"slug":4220,"title":4221,"dynasty":51,"author":74,"museum":94,"description":4222,"tags":4223,"thumbUrl":4224,"material":146,"size":4225,"collection":65,"collections":4226,"showCount":4177,"zanCount":45,"manualWeight":45,"mainColor":46},219304,"xue-jing-zhou-lan-ying-219304","雪景轴","蓝瑛（西元一五八五－一六六四年以后）字田叔，号蝶叟，杭州钱塘人。善山水，初学元黄公望，并遍临唐宋元各家，构图精整，傅色明艳，晚年作品笔墨苍劲老辣，傅色趋于雅淡。他也擅长花竹、人物画，是浙派后期的重要画家。此幅画溪山积雪，其间点缀楼宇、蓬舟、危桥、栈道和行人。山石纯用短斫，兼以烘染。用笔率直老健，作于一六五九年，是七十五岁的力作。",[23,24,56,29,36,61,37,35,33,2622,59,58,7,38,3819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9284fc8674ac05bd3e157f3659003486.jpg","268x68.8",[65],{"id":4228,"slug":4229,"title":4230,"dynasty":109,"author":306,"museum":4231,"description":4232,"tags":4233,"thumbUrl":4234,"material":146,"size":4235,"collection":65,"collections":4236,"showCount":4177,"zanCount":250,"manualWeight":45,"mainColor":46},218028,"dong-shan-tu-yi-ming-218028","东山图","纽约亚洲协会","东山图是宋朝时期的一幅著名图画，作者不详。\n\n这幅图画描绘了东山的景色，其中包括了群山、河流、村庄以及各种植物。图中的人物也描绘得非常生动，展现了宋朝时期民间生活的细节。\n\n东山图被认为是宋朝时期艺术发展的里程碑之一，因为它展示了当时艺术家们对自然和人物的再现能力的提高。此外，这幅图画还被认为是中国古代图画艺术中的杰作，因为它将自然与人文相结合，展现了宋朝时期的文化和历史。",[78,23,56,27,29,58,36,33,7,116,855,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87cef9696f4bfa990213eda1583a2f2e.jpg","175.2x88.2cm",[65],{"id":4238,"slug":4239,"title":3453,"dynasty":155,"author":377,"museum":20,"description":4240,"tags":4241,"thumbUrl":4242,"material":41,"size":41,"collection":65,"collections":4243,"showCount":4244,"zanCount":45,"manualWeight":45,"mainColor":69},237906,"shan-shui-zhou-zhu-da-237906","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[23,57,56,58,36,117,59,7,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[65],37,{"id":4246,"slug":4247,"title":4130,"dynasty":155,"author":377,"museum":20,"description":1432,"tags":4248,"thumbUrl":4249,"material":355,"size":356,"collection":41,"collections":4250,"showCount":4244,"zanCount":45,"manualWeight":45,"mainColor":69},230276,"shan-shui-tu-ce-zhu-da-230276",[23,57,58,97,30,36,7,59,80,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4472f7aa214cb40bd93f48ed4bffbe09.jpg",[],{"id":4252,"slug":4253,"title":4254,"dynasty":205,"author":206,"museum":53,"description":4255,"tags":4256,"thumbUrl":4258,"material":1087,"size":4259,"collection":65,"collections":4260,"showCount":4244,"zanCount":45,"manualWeight":45,"mainColor":69},221791,"shu-song-you-xiu-tu-zhou-cao-zhi-bai-221791","疏松幽岫图轴","描绘平溪远岫，疏林飞瀑，山谷间房舍隐现。近处高松老树疏简错落，枝干虬曲，形态优美。",[78,23,24,56,57,58,36,4257,7,59,117,30],"疏松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ce6cb5c7be500033f0c32f59285ed1.jpg","纵74.5厘米，横27.8厘米",[65,123],{"id":4262,"slug":4263,"title":4264,"dynasty":51,"author":4265,"museum":307,"description":4266,"tags":4267,"thumbUrl":4269,"material":146,"size":41,"collection":101,"collections":4270,"showCount":4244,"zanCount":45,"manualWeight":45,"mainColor":46},219325,"hua-niao-tu-yi-yue-zhou-219325","花鸟图(一)","月洲","枯枝虬曲如铁，却绽几点新红，似冬末春初的暖意悄然浸来。枝上双禽相顾，羽色黑白分明，灵动如生；坡前雉鸡敛翅，尾羽拖曳如绢，斑驳羽纹间藏着野趣。花木与禽鸟相契，笔墨工致处见羽毛肌理，写意处显枝干苍劲，松针细劲，山石朴拙，似能听见枝间轻啼，嗅到草间清芬。整幅画面古雅静谧，生机暗涌，将自然之趣凝于绢素，尽显传统花鸟的意韵悠长。",[78,23,24,56,27,29,380,638,7,4268,39],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095ebf46cf6c15794eea3c98ab045de1.jpg",[101],{"id":4272,"slug":4273,"title":4274,"dynasty":205,"author":231,"museum":53,"description":2486,"tags":4275,"thumbUrl":4277,"material":63,"size":4278,"collection":65,"collections":4279,"showCount":4280,"zanCount":45,"manualWeight":45,"mainColor":69},290836,"you-lin-qing-yi-zhou-wang-meng-290836","幽林清逸轴",[194,23,56,57,997,36,7,37,35,82,38,30,31,58,4276],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbc40c15389daa95dc02c8e039dba05.jpg","133.4x47.4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。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[23,24,27,29,34,638,779,61,82,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":4308,"slug":4309,"title":4310,"dynasty":155,"author":3463,"museum":1381,"description":4311,"tags":4312,"thumbUrl":4313,"material":1816,"size":4314,"collection":65,"collections":4315,"showCount":4280,"zanCount":45,"manualWeight":45,"mainColor":69},224253,"gu-mu-yuan-shan-tu-cha-shi-biao-224253","古木远山图","查士标(1615--1698)，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。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[78,23,57,36,56,2899,235,82,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbbb93b849c20f73993df993353af8.jpg","47.7x108.8cm",[65],{"id":4317,"slug":4318,"title":4319,"dynasty":109,"author":527,"museum":53,"description":4320,"tags":4321,"thumbUrl":4332,"material":370,"size":4333,"collection":41,"collections":4334,"showCount":4280,"zanCount":45,"manualWeight":45,"mainColor":69},221386,"bao-shan-shi-jing-ce-fan-kuan-221386","包山十景册","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[78,23,24,4322,97,57,58,36,7,59,82,38,245,79,855,4323,4324,4325,4326,4327,4328,4329,4330,4331],"古画","自然景物","传统绘画","水墨山水","山间景物","山水景观","石质山体","树木景观","山石景观","皴笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg","30.2x31.8",[],{"id":4336,"slug":4337,"title":4338,"dynasty":205,"author":575,"museum":4339,"description":4340,"tags":4341,"thumbUrl":4342,"material":344,"size":4343,"collection":65,"collections":4344,"showCount":4280,"zanCount":45,"manualWeight":45,"mainColor":46},220802,"shu-lin-tu-zhou-ni-zan-220802","疏林图轴","日本民间","书生的告老还乡之路，和出门赶考一样的漫长。似乎，人的出门远走，就是为了白发还乡，叶落归根。",[78,23,24,56,57,58,36,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069f922f766f4292a865aab0bf382ef.jpg","68x57cm",[65,123],{"id":4346,"slug":4347,"title":4348,"dynasty":51,"author":2721,"museum":736,"description":4349,"tags":4350,"thumbUrl":4351,"material":146,"size":4352,"collection":65,"collections":4353,"showCount":4280,"zanCount":45,"manualWeight":45,"mainColor":46},220146,"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[78,23,24,36,56,57,58,38,61,59,80,7,703,117,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[65],{"id":4355,"slug":4356,"title":4357,"dynasty":205,"author":231,"museum":232,"description":4358,"tags":4359,"thumbUrl":4361,"material":63,"size":4362,"collection":65,"collections":4363,"showCount":4280,"zanCount":250,"manualWeight":45,"mainColor":69},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[78,194,23,24,25,57,29,58,36,113,82,38,7,4360,447,59,117,30,31,32,1856],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 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cm.",[65],{"id":4365,"slug":4366,"title":4367,"dynasty":155,"author":4368,"museum":307,"description":4369,"tags":4370,"thumbUrl":4372,"material":146,"size":41,"collection":65,"collections":4373,"showCount":4280,"zanCount":45,"manualWeight":45,"mainColor":46},219809,"ping-sha-luo-yan-yun-qiao-zhu-ren-219809","平沙落雁","云樵主人","此作用淡墨晕染出平远空阔的秋江暮色，远岸沙洲隐现于昏黄霭气之中，雁群点点掠过长空，次第栖落平沙，将秋日暮景的清寂铺展开来。近景枯木萧疏，残叶缀于寒枝，幽人策蹇徐行于林畔，更添幽闲野趣。\n\n笔墨简淡清逸，以浅赭铺就暮色底色，淡墨勾绘水岸枯槎，不着浓艳色彩，却将平沙落雁的清远意境渲染尽致。题诗与画面相映，把霜天暮景的荒寒淡远，和林泉高致的澹泊闲静相融，观之如闻晚雁轻鸣，似觉江风掠沙，尽显文人寄情林泉的幽寂意趣。",[23,29,36,39,7,79,4371,30,32,117],"沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a02bdb4ff53f238c50f9692217fd07f.jpg",[65],{"id":4375,"slug":4376,"title":4377,"dynasty":51,"author":306,"museum":1483,"description":4378,"tags":4379,"thumbUrl":4381,"material":146,"size":41,"collection":135,"collections":4382,"showCount":4280,"zanCount":45,"manualWeight":45,"mainColor":69},219593,"luo-han-guan-yin-tu-yi-ming-219593","罗汉观音图","此作以石窟观音为视觉中心，十六罗汉错落排布于林泉幽境之间。洞窟、危桥、苍松穿插其间，将佛国胜景融于山水丘壑。设色古雅沉润，线条凝练劲挺，衣褶流转自然。\n\n各罗汉神态迥异，或趺坐静思、或临渊观流、或降龙伏怪，形神兼备；观音端踞窟内，仪容肃穆安和。画面将礼佛的庄严禅意，与文人山水的清寂雅致相融，既彰显佛造像的静穆神圣，又暗合山林隐逸的审美意趣，尽显佛画与山水画结合的精妙，把出世禅心揉入林泉幽致之中，尽显明代宗教绘画兼具工致与意韵的独特韵味。",[23,24,29,27,650,33,36,61,37,4380,294,7,113,82],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[135],{"id":4384,"slug":4385,"title":4386,"dynasty":51,"author":2428,"museum":53,"description":4387,"tags":4388,"thumbUrl":4389,"material":146,"size":4390,"collection":65,"collections":4391,"showCount":4280,"zanCount":45,"manualWeight":45,"mainColor":46},219475,"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[23,24,56,57,58,30,36,33,113,61,117,37,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[65],{"id":4393,"slug":4394,"title":4395,"dynasty":205,"author":1551,"museum":20,"description":4396,"tags":4397,"thumbUrl":4399,"material":355,"size":356,"collection":41,"collections":4400,"showCount":4401,"zanCount":45,"manualWeight":45,"mainColor":46},290820,"xi-shan-yu-yi-tu-zhou-wu-zhen-290820","溪山雨意图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[194,23,24,56,57,36,58,61,2488,7,4398,31,30],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d46bbb9394f7778397efac4b923ef92.jpg",[],35,{"id":4403,"slug":4404,"title":4405,"dynasty":51,"author":1540,"museum":20,"description":4406,"tags":4407,"thumbUrl":4408,"material":355,"size":356,"collection":41,"collections":4409,"showCount":4401,"zanCount":45,"manualWeight":45,"mainColor":69},288021,"tao-hua-yuan-yang-tu-shan-mian-zhou-zhi-mian-288021","桃花鸳鸯图扇面","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[78,530,23,194,24,29,380,1691,924,61,116,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77bf6fdf6141f8c8ffcd4f1175cbe18f.jpg",[],{"id":4411,"slug":4412,"title":4413,"dynasty":851,"author":3320,"museum":53,"description":4414,"tags":4415,"thumbUrl":4417,"material":355,"size":356,"collection":41,"collections":4418,"showCount":4401,"zanCount":45,"manualWeight":45,"mainColor":46},287719,"hua-zhang-lin-xiao-yi-dong-yuan-287719","画长林萧逸","水墨画山峦层叠，林木丛聚。画中山石土坡，均用披麻皴法，只是笔法造型稍嫌刻板，乏于变化；树木平整罗列，少于掩映参差的深趣，当是出于后期画家仿作。",[78,194,23,24,56,57,58,29,36,7,113,61,37,4416],"萧逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc088b2a7379e1f7d028fe386eee872fb.jpg",[],{"id":4420,"slug":4421,"title":4422,"dynasty":205,"author":575,"museum":20,"description":4423,"tags":4424,"thumbUrl":4425,"material":355,"size":356,"collection":41,"collections":4426,"showCount":4401,"zanCount":201,"manualWeight":45,"mainColor":69},287598,"gu-mu-zhu-shi-ni-zan-287598","古木竹石","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[23,57,7,424,82,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703c19b30314285dda62309469a0f7db.jpg",[],{"id":4428,"slug":4429,"title":3274,"dynasty":51,"author":4430,"museum":20,"description":4431,"tags":4432,"thumbUrl":4433,"material":41,"size":41,"collection":65,"collections":4434,"showCount":4401,"zanCount":45,"manualWeight":45,"mainColor":69},236404,"xiao-xiang-ba-jing-ce-wen-jia-236404","文嘉","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,57,97,36,35,38,7,30,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[65,102],{"id":4436,"slug":4437,"title":4438,"dynasty":155,"author":2065,"museum":94,"description":4439,"tags":4440,"thumbUrl":4441,"material":84,"size":4442,"collection":41,"collections":4443,"showCount":4401,"zanCount":45,"manualWeight":45,"mainColor":69},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[23,24,56,57,29,58,36,113,37,35,7,38,367,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":4445,"slug":4446,"title":4447,"dynasty":51,"author":306,"museum":20,"description":4448,"tags":4449,"thumbUrl":4450,"material":41,"size":41,"collection":41,"collections":4451,"showCount":4401,"zanCount":201,"manualWeight":45,"mainColor":664},234699,"ming-ren-ren-wu-ce-yi-ming-234699","明人人物册","松荫如盖，幽林静谧，一场林下雅兴悠然铺展。抚琴者宽袍缓带，垂目拨弦，神思尽付丝桐之间。对面雅士凭椅侧坐，背向观者却身姿松弛，似已沉湎琴音，物我两忘。身侧二小童垂手侍立，敛声屏息，更衬得林间静雅安宁。\n\n画笔工细雅致，衣褶线条清劲挺括，将文人的萧散仪态勾勒尽致。古松虬曲苍劲，苔石隐于浅草之间，晕染出幽寂高旷的林下氛围，尽显文人寄情丝桐、酬答知音的清雅意趣，铺陈出明代文人士大夫超脱尘俗的林下襟怀。",[23,29,97,27,33,7,82,2202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa4abd3ba47454c39dedb2996be91bc.jpg",[],{"id":4453,"slug":4454,"title":4455,"dynasty":109,"author":2407,"museum":94,"description":4456,"tags":4457,"thumbUrl":4458,"material":545,"size":4459,"collection":135,"collections":4460,"showCount":4401,"zanCount":201,"manualWeight":45,"mainColor":46},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,194,24,97,28,57,33,7,245,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[135,65],{"id":4462,"slug":4463,"title":4464,"dynasty":51,"author":74,"museum":20,"description":4465,"tags":4466,"thumbUrl":4467,"material":41,"size":41,"collection":41,"collections":4468,"showCount":4401,"zanCount":201,"manualWeight":45,"mainColor":69},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[23,24,97,29,57,58,36,7,35,195,59,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],{"id":4470,"slug":4471,"title":4472,"dynasty":109,"author":1327,"museum":20,"description":4473,"tags":4474,"thumbUrl":4475,"material":41,"size":41,"collection":41,"collections":4476,"showCount":4401,"zanCount":201,"manualWeight":45,"mainColor":46},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[78,23,24,25,36,27,57,58,171,320,117,82,7,37,80,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":4478,"slug":4479,"title":4480,"dynasty":109,"author":539,"museum":20,"description":4481,"tags":4482,"thumbUrl":4483,"material":41,"size":41,"collection":41,"collections":4484,"showCount":4401,"zanCount":201,"manualWeight":45,"mainColor":46},227634,"shan-shui-tu-ye-ma-lin-227634","山水图页","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[78,23,194,29,58,97,36,35,33,7,321,59,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],{"id":4486,"slug":4487,"title":4488,"dynasty":155,"author":2387,"museum":20,"description":4489,"tags":4490,"thumbUrl":4491,"material":384,"size":4492,"collection":41,"collections":4493,"showCount":4401,"zanCount":45,"manualWeight":45,"mainColor":69},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[78,530,23,24,57,58,36,7,61,117,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg","纵22.7厘米，横63.1厘米",[],{"id":4495,"slug":4496,"title":4497,"dynasty":51,"author":4498,"museum":4499,"description":4500,"tags":4501,"thumbUrl":4503,"material":63,"size":41,"collection":135,"collections":4504,"showCount":4401,"zanCount":45,"manualWeight":45,"mainColor":69},218490,"ri-ben-gao-shi-guan-mei-tu-zhuo-zong-deng-yang-218490","日本· 高士观梅图","拙宗等杨","九州国立博物馆","圆幅之中，枯梅虬枝如铁，疏影横斜间藏着冬日的幽韵。岩畔高士衣袂翩然，凝眸枝桠的姿态，似与梅魂相接——是沉醉于含苞待放的清趣，还是默然体悟天地的空寂？远处山影淡若烟霭，近石嶙峋衬出梅的风骨，留白处漾着悠远的禅意。笔墨简劲却含深情，将文人观梅时的孤高清雅与物我相融的心境，凝成了这方静谧而隽永的画面，让人一眼便坠入那片清寒又诗意的天地。",[23,24,4502,57,58,33,638,82,7,36],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6465c326a8271c018f825f86db6350b.jpg",[135],{"id":4506,"slug":4507,"title":4508,"dynasty":109,"author":265,"museum":20,"description":1062,"tags":4509,"thumbUrl":4511,"material":355,"size":356,"collection":41,"collections":4512,"showCount":4513,"zanCount":45,"manualWeight":45,"mainColor":664},290495,"xue-feng-gu-si-tu-xia-gui-290495","雪峰古寺图",[194,23,57,56,36,282,4510,113,7,59,58],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdf0183f3349bf16394d96e91e0cba5.jpg",[],34,{"id":4515,"slug":4516,"title":1440,"dynasty":109,"author":110,"museum":20,"description":4517,"tags":4518,"thumbUrl":4520,"material":355,"size":356,"collection":41,"collections":4521,"showCount":4513,"zanCount":45,"manualWeight":45,"mainColor":46},290069,"guan-pu-tu-ma-yuan-290069","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[78,23,194,56,57,36,7,33,60,59,58,4519],"观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff37bca2c65f632d778c3b87fd875bfa1.jpg",[],{"id":4523,"slug":4524,"title":191,"dynasty":155,"author":4525,"museum":4526,"description":4527,"tags":4528,"thumbUrl":4529,"material":41,"size":41,"collection":65,"collections":4530,"showCount":4513,"zanCount":201,"manualWeight":45,"mainColor":69},234102,"shan-shui-ce-wang-gai-234102","王概","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》。",[23,29,57,97,36,7,38,82,58,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c5d69c9f1d0968dfce493fa609542.jpg",[65],{"id":4532,"slug":4533,"title":4534,"dynasty":205,"author":4535,"museum":94,"description":4536,"tags":4537,"thumbUrl":4538,"material":344,"size":4539,"collection":41,"collections":4540,"showCount":4513,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[23,57,25,36,116,7,35,81,30,58,531,779,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":4542,"slug":4543,"title":4544,"dynasty":155,"author":4545,"museum":94,"description":4546,"tags":4547,"thumbUrl":4548,"material":84,"size":4549,"collection":41,"collections":4550,"showCount":4513,"zanCount":201,"manualWeight":45,"mainColor":69},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","张赐宁","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[23,24,56,57,29,58,36,117,59,33,81,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":4552,"slug":4553,"title":4554,"dynasty":51,"author":363,"museum":1966,"description":4555,"tags":4556,"thumbUrl":4557,"material":370,"size":4558,"collection":41,"collections":4559,"showCount":4513,"zanCount":45,"manualWeight":45,"mainColor":46},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[78,23,24,56,57,29,36,33,321,37,855,58,7,447],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":4561,"slug":4562,"title":4563,"dynasty":205,"author":4564,"museum":53,"description":4565,"tags":4566,"thumbUrl":4567,"material":4568,"size":4569,"collection":41,"collections":4570,"showCount":4513,"zanCount":45,"manualWeight":45,"mainColor":69},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[23,24,57,36,58,25,61,37,588,7,33,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纸本 设色","纵：26.2厘米，横：65.4厘米",[],{"id":4572,"slug":4573,"title":4574,"dynasty":109,"author":527,"museum":20,"description":4575,"tags":4576,"thumbUrl":4577,"material":41,"size":41,"collection":41,"collections":4578,"showCount":4513,"zanCount":45,"manualWeight":45,"mainColor":46},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","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。",[78,23,24,36,58,29,7,116,33,509,37,171,1643,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":4580,"slug":4581,"title":4582,"dynasty":109,"author":265,"museum":20,"description":1062,"tags":4583,"thumbUrl":4584,"material":355,"size":356,"collection":41,"collections":4585,"showCount":4586,"zanCount":45,"manualWeight":45,"mainColor":46},290860,"gui-zhao-tu-zhou-xia-gui-290860","归棹图轴",[23,194,56,57,36,58,82,7,37,35,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dda2ad562cec97379a61278376bfa6.jpg",[],33,{"id":4588,"slug":4589,"title":4590,"dynasty":155,"author":2065,"museum":20,"description":4591,"tags":4592,"thumbUrl":4594,"material":355,"size":356,"collection":41,"collections":4595,"showCount":4586,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[194,23,56,57,36,61,37,35,113,38,116,7,4593,58,30,31,1208,2488],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":4597,"slug":4598,"title":4599,"dynasty":205,"author":219,"museum":20,"description":1651,"tags":4600,"thumbUrl":4601,"material":355,"size":356,"collection":41,"collections":4602,"showCount":4586,"zanCount":45,"manualWeight":45,"mainColor":69},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）",[78,194,23,56,29,36,33,116,7,35,37,82,81,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":4604,"slug":4605,"title":3453,"dynasty":155,"author":4606,"museum":20,"description":4607,"tags":4608,"thumbUrl":4609,"material":41,"size":41,"collection":65,"collections":4610,"showCount":4586,"zanCount":201,"manualWeight":45,"mainColor":69},236444,"shan-shui-zhou-xu-fang-236444","徐枋","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[23,57,56,58,36,61,37,7,82,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[65,102],{"id":4612,"slug":4613,"title":4614,"dynasty":51,"author":2876,"museum":20,"description":4615,"tags":4616,"thumbUrl":4617,"material":41,"size":41,"collection":41,"collections":4618,"showCount":4586,"zanCount":45,"manualWeight":45,"mainColor":69},234151,"shan-shui-juan-wen-bo-ren-234151","山水卷","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[78,23,25,57,58,24,36,171,320,7,61,37,35,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":4620,"slug":4621,"title":4622,"dynasty":155,"author":1030,"museum":540,"description":4623,"tags":4624,"thumbUrl":4625,"material":1936,"size":4626,"collection":41,"collections":4627,"showCount":4586,"zanCount":45,"manualWeight":45,"mainColor":89},233868,"mei-hua-ce-jin-nong-233868","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[23,24,97,28,57,380,638,7,1230,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb34432e0d3f92f887635aac9010c975.jpg","25.4cm ×29.8cm",[],{"id":4629,"slug":4630,"title":4631,"dynasty":155,"author":4525,"museum":94,"description":4632,"tags":4633,"thumbUrl":4634,"material":41,"size":41,"collection":65,"collections":4635,"showCount":4586,"zanCount":45,"manualWeight":45,"mainColor":69},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","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。",[23,24,97,57,58,36,116,7,61,37,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[65],{"id":4637,"slug":4638,"title":4639,"dynasty":155,"author":2387,"museum":157,"description":4213,"tags":4640,"thumbUrl":4642,"material":344,"size":4216,"collection":41,"collections":4643,"showCount":4586,"zanCount":201,"manualWeight":45,"mainColor":69},219850,"ba-jing-shan-shui-tu-6-gong-xian-219850","八景山水图-6",[23,57,58,36,7,4641,35,320],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba7ab842fa8f38fb3b06152c82a4781.jpg",[],{"id":4645,"slug":4646,"title":4647,"dynasty":155,"author":4648,"museum":53,"description":4649,"tags":4650,"thumbUrl":4651,"material":63,"size":41,"collection":102,"collections":4652,"showCount":4586,"zanCount":45,"manualWeight":45,"mainColor":69},219464,"zhang-song-tu-lu-ri-wei-219464","长松图","陆日为","陆日为善画山水，初学米芾、米友仁及高克恭之法，同时亦能融入自己的特色，形成了独特的艺术风格。",[194,23,24,56,57,58,321,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa819d15028698afffdb6a55ce8aa31d8.jpg",[102],{"id":4654,"slug":4655,"title":4656,"dynasty":51,"author":130,"museum":53,"description":4657,"tags":4658,"thumbUrl":4660,"material":270,"size":4661,"collection":65,"collections":4662,"showCount":4586,"zanCount":45,"manualWeight":45,"mainColor":46},216103,"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[23,24,97,57,29,36,58,35,37,39,38,4659,61,7],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[65],{"id":4664,"slug":4665,"title":4666,"dynasty":109,"author":647,"museum":20,"description":4667,"tags":4668,"thumbUrl":4671,"material":355,"size":356,"collection":41,"collections":4672,"showCount":4673,"zanCount":201,"manualWeight":45,"mainColor":46},287708,"si-xue-shi-tu-ye-li-gong-lin-287708","四学士图页","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[78,194,23,33,7,82,29,28,4669,4670,97],"书卷","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e567059d03f6163387fc2af055dc93.jpg",[],32,{"id":4675,"slug":4676,"title":4677,"dynasty":155,"author":4678,"museum":53,"description":4679,"tags":4680,"thumbUrl":4681,"material":41,"size":41,"collection":65,"collections":4682,"showCount":4673,"zanCount":45,"manualWeight":45,"mainColor":46},238256,"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[23,24,25,57,58,2622,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[65],{"id":4684,"slug":4685,"title":4686,"dynasty":51,"author":306,"museum":20,"description":4687,"tags":4688,"thumbUrl":4689,"material":41,"size":41,"collection":41,"collections":4690,"showCount":4673,"zanCount":45,"manualWeight":45,"mainColor":69},235874,"tang-yin-guan-shan-xing-lv-zhou-yi-ming-235874","唐寅关山行旅轴","此作画境荒寒清寂，以淡墨晕染远山，烟岚朦胧间隐出路踪。虬曲古木撑起重峦一隅，枯枝苍劲老辣，皴擦间尽显风霜雕琢之态。石拱桥下寒水浅流，策杖旅人独行桥边，衣袂似随山风微动，静穆中暗含羁旅孤愁。\n整幅以水墨写意，淡远空疏的笔墨烘托出关山行旅的苍茫意境，将天涯行客的寂寥心绪融于冷寂山水间，尽显借景抒怀的雅致意趣，笔墨简淡却意蕴悠长。",[23,56,57,36,58,7,59,33,113,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c7f861c1e723f95dfa0c68d42794f8.jpg",[],{"id":4692,"slug":4693,"title":3743,"dynasty":51,"author":52,"museum":94,"description":3744,"tags":4694,"thumbUrl":4695,"material":344,"size":3747,"collection":41,"collections":4696,"showCount":4673,"zanCount":45,"manualWeight":45,"mainColor":69},234088,"wu-zhong-shan-shui-ce-shen-zhou-234088",[23,57,97,32,36,7,61,58,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcfb606921be0b9986e3b5388576f24.jpg",[],{"id":4698,"slug":4699,"title":4700,"dynasty":205,"author":306,"museum":94,"description":4701,"tags":4702,"thumbUrl":4703,"material":999,"size":4704,"collection":41,"collections":4705,"showCount":4673,"zanCount":201,"manualWeight":45,"mainColor":46},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。",[23,24,56,36,26,58,57,29,245,117,116,7,855,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":4707,"slug":4708,"title":4709,"dynasty":51,"author":841,"museum":20,"description":4710,"tags":4711,"thumbUrl":4712,"material":41,"size":41,"collection":41,"collections":4713,"showCount":4673,"zanCount":45,"manualWeight":45,"mainColor":69},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 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。",[194,23,24,25,57,29,58,32,31,30,33,36,321,7,59,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":4715,"slug":4716,"title":4717,"dynasty":851,"author":4718,"museum":20,"description":4719,"tags":4720,"thumbUrl":4721,"material":41,"size":41,"collection":41,"collections":4722,"showCount":4673,"zanCount":45,"manualWeight":45,"mainColor":69},227266,"yuan-yang-shuang-xi-qi-tu-huang-quan-227266","鸳鸯双西栖图","黄荃","黄荃在中国古代花鸟画发展史上占有重要地位。他集众家之长，鸟雀师刁光胤，山水师李昇，龙水、松石、墨竹师孙位，他能自出新意，不重蹈抄袭他人的陈迹，创出一种新体并使工笔花鸟画达到成熟期。黄荃的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄荃还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。黄荃也能画山水、人物。与徐熙并称“徐熙野逸，黄家富贵。”。今有《写生珍禽图》传世。子黄居宷、黄居宝等亦擅花鸟，承其父法，黄居宷有《山鹧棘雀图》传世。",[78,23,194,24,530,27,29,380,924,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c674b72f9c4538a81c5d18574dd6ea.jpg",[],{"id":4724,"slug":4725,"title":4726,"dynasty":109,"author":2407,"museum":94,"description":4727,"tags":4728,"thumbUrl":4729,"material":119,"size":4730,"collection":121,"collections":4731,"showCount":4673,"zanCount":45,"manualWeight":45,"mainColor":46},221453,"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[78,23,24,25,28,29,33,36,7,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[121,65,123],{"id":4733,"slug":4734,"title":129,"dynasty":155,"author":4735,"museum":4736,"description":4737,"tags":4738,"thumbUrl":4739,"material":211,"size":4740,"collection":65,"collections":4741,"showCount":4673,"zanCount":45,"manualWeight":45,"mainColor":69},217992,"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[23,24,56,57,36,61,37,7,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[65],{"id":4743,"slug":4744,"title":4745,"dynasty":51,"author":306,"museum":20,"description":4746,"tags":4747,"thumbUrl":4749,"material":270,"size":4750,"collection":135,"collections":4751,"showCount":4673,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,194,23,24,56,28,57,29,58,33,116,7,36,448,37,4748],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[135],{"id":4753,"slug":4754,"title":4755,"dynasty":109,"author":1018,"museum":20,"description":2630,"tags":4756,"thumbUrl":4758,"material":355,"size":356,"collection":41,"collections":4759,"showCount":4760,"zanCount":45,"manualWeight":45,"mainColor":46},291007,"gu-song-tu-guo-xi-291007","古松图",[23,194,56,57,58,4757,7,693,30],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d8920ad7268cf0fee7850c0890f75.jpg",[],31,{"id":4762,"slug":4763,"title":4764,"dynasty":109,"author":330,"museum":20,"description":4765,"tags":4766,"thumbUrl":4767,"material":355,"size":356,"collection":41,"collections":4768,"showCount":4760,"zanCount":45,"manualWeight":45,"mainColor":46},290057,"lin-jian-ling-yuan-tu-mu-xi-290057","林间灵猿图","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》。",[194,23,57,482,3619,7,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd52c9f85a50b4eaeda45a903aa4611f.jpg",[],{"id":4770,"slug":4771,"title":4772,"dynasty":155,"author":377,"museum":20,"description":1432,"tags":4773,"thumbUrl":4774,"material":355,"size":356,"collection":41,"collections":4775,"showCount":4760,"zanCount":45,"manualWeight":45,"mainColor":69},288451,"shui-tun-tu-zhu-da-288451","水屯图",[78,23,57,997,235,209,7,1948,35,30,58,31,2635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9cc6b0b8316ab2fb517885000a51ce.jpg",[],{"id":4777,"slug":4778,"title":4779,"dynasty":51,"author":4780,"museum":20,"description":4781,"tags":4782,"thumbUrl":4783,"material":41,"size":41,"collection":65,"collections":4784,"showCount":4760,"zanCount":201,"manualWeight":45,"mainColor":69},237783,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-ling-237783","诸家山水册-山水册页","王允龄","字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。",[23,57,58,97,36,7,79,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17385c48ba87b031b3a6ce97cde0021f.jpg",[65],{"id":4786,"slug":478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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。",[78,23,29,36,58,171,172,7,116,320,35,855,4803,3005,531,1010,80],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":4807,"slug":4808,"title":4809,"dynasty":155,"author":1114,"museum":20,"description":4810,"tags":4811,"thumbUrl":4812,"material":41,"size":41,"collection":41,"collections":4813,"showCount":4760,"zanCount":45,"manualWeight":45,"mainColor":69},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[23,24,27,29,58,26,30,7,39,59,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":4815,"slug":4816,"title":4817,"dynasty":51,"author":363,"museum":53,"description":4818,"tags":4819,"thumbUrl":4820,"material":270,"size":4821,"collection":65,"collections":4822,"showCount":4760,"zanCount":45,"manualWeight":45,"mainColor":46},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[78,23,56,36,58,29,61,37,35,59,117,33,509,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[65,123],{"id":4824,"slug":4825,"title":4826,"dynasty":1178,"author":2284,"museum":1702,"description":4827,"tags":4828,"thumbUrl":4829,"material":41,"size":41,"collection":41,"collections":4830,"showCount":4760,"zanCount":45,"manualWeight":45,"mainColor":69},220528,"shan-lin-yuan-tiao-xu-bei-hong-220528","山林远眺","画作以浓淡干湿的笔墨写就古松，嶙峋躯干虬曲苍劲，焦墨点染的松针苍郁勃发，将古树扎根危岩的峥嵘气势尽显。浅赭晕染山石，粗笔皴擦刻画出岩壁的坚硬质感。\n\n画面下方的孩童为沉静山林添入灵动生气，一静一动相映成趣。创作者以写实笔墨融合传统写意，打破陈规，让苍劲古林与稚拙孩童相融，雄浑山水间晕开淡淡烟火温情，勾勒出山林悠远安然的意韵。",[23,57,29,56,58,36,7,59,33,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3db224914df14f458316d0f58224d92.jpg",[],{"id":4832,"slug":4833,"title":4834,"dynasty":51,"author":1944,"museum":307,"description":4835,"tags":4836,"thumbUrl":4837,"material":270,"size":4838,"collection":135,"collections":4839,"showCount":4760,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,194,56,57,481,33,117,59,116,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f737201526754b27266ed5a65515adf.jpg","纵164.8横95.0厘米",[135],{"id":4841,"slug":4842,"title":4843,"dynasty":51,"author":4844,"museum":53,"description":4845,"tags":4846,"thumbUrl":4847,"material":146,"size":4848,"collection":102,"collections":4849,"showCount":4760,"zanCount":45,"manualWeight":45,"mainColor":46},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[23,24,56,997,29,58,36,638,33,7,59,117,61,1245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[102],{"id":4851,"slug":4852,"title":4853,"dynasty":109,"author":4854,"museum":444,"description":4855,"tags":4856,"thumbUrl":4857,"material":146,"size":4858,"collection":41,"collections":4859,"showCount":4760,"zanCount":201,"manualWeight":45,"mainColor":69},216921,"xiang-shan-jiu-lao-tu-3-ma-xing-zu-216921","香山九老图-3","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[78,23,194,24,25,27,29,58,33,7,321,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d337f51df2c79cfd347b373f8b121f.jpg","27.1x217.2",[],{"id":4861,"slug":4862,"title":4863,"dynasty":205,"author":3054,"museum":53,"description":4864,"tags":4865,"thumbUrl":4868,"material":146,"size":4869,"collection":41,"collections":4870,"showCount":4871,"zanCount":201,"manualWeight":45,"mainColor":69},290256,"yan-lan-qiu-jian-tu-zhu-de-run-290256","烟岚秋涧图","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[194,23,56,57,36,7,59,37,4866,1208,693,447,4867],"烟岚","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9766931c05722889a90dd2c2c96c59.jpg","102.6x44.3",[],30,{"id":4873,"slug":4874,"title":4875,"dynasty":109,"author":3661,"museum":20,"description":4876,"tags":4877,"thumbUrl":4880,"material":355,"size":356,"collection":41,"collections":4881,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":69},289380,"dong-po-chi-bi-tu-wang-shen-289380","东坡赤壁图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,530,57,36,35,7,4878,33,4879,2321,58],"崖壁","赤壁夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d6877a997956ae6ffceae87c8d7908.jpg",[],{"id":4883,"slug":4884,"title":4885,"dynasty":51,"author":4886,"museum":20,"description":4887,"tags":4888,"thumbUrl":4889,"material":355,"size":356,"collection":41,"collections":4890,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":69},288044,"shan-shui-zhu-shi-tu-ye-wang-fu-288044","山水竹石图页","王绂","王绂(wángfú)， 明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[78,23,24,57,424,7,82,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd653c41a55eeac3370945450740a77.jpg",[],{"id":4892,"slug":4893,"title":4894,"dynasty":51,"author":3778,"museum":94,"description":4895,"tags":4896,"thumbUrl":4897,"material":384,"size":4898,"collection":65,"collections":4899,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":69},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[23,24,56,57,58,36,171,172,7,447,37,61,59,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[65],{"id":4901,"slug":4902,"title":4903,"dynasty":51,"author":2428,"museum":20,"description":4904,"tags":4905,"thumbUrl":4906,"material":41,"size":41,"collection":41,"collections":4907,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":46},234679,"shan-shui-ce-ye-xie-shi-chen-234679","山水册页","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[194,23,24,97,57,58,36,38,61,37,7,59,117,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":4909,"slug":4910,"title":4911,"dynasty":205,"author":433,"museum":94,"description":2329,"tags":4912,"thumbUrl":4913,"material":370,"size":4914,"collection":41,"collections":4915,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":69},233203,"zuo-kan-yun-qi-tu-ye-sheng-mao-233203","坐看云起图页",[23,24,530,57,29,58,36,889,7,39,33,59,235,367,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567c9ea4707965f97951bafa9c5e46b8.jpg","纵27cm; 横28cm.",[],{"id":4917,"slug":4918,"title":4919,"dynasty":51,"author":898,"museum":20,"description":4920,"tags":4921,"thumbUrl":4922,"material":41,"size":41,"collection":41,"collections":4923,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":46},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[78,23,24,29,27,36,33,38,7,59,117,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":4925,"slug":4926,"title":4927,"dynasty":155,"author":457,"museum":20,"description":4928,"tags":4929,"thumbUrl":4930,"material":41,"size":41,"collection":41,"collections":4931,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":46},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[78,23,24,56,57,58,36,61,37,7,59,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":4933,"slug":4934,"title":4935,"dynasty":155,"author":4936,"museum":20,"description":4937,"tags":4938,"thumbUrl":4939,"material":41,"size":41,"collection":41,"collections":4940,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":69},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","长林逍遥图","渐江","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[78,23,24,56,57,58,36,447,37,7,59,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":4942,"slug":4943,"title":1501,"dynasty":155,"author":4944,"museum":1714,"description":4945,"tags":4946,"thumbUrl":4947,"material":4948,"size":4949,"collection":101,"collections":4950,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":46},223304,"gu-mu-zhu-shi-tu-luo-mu-223304","罗牧","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。",[78,23,57,56,7,116,424,82,58,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纸本水墨","纵127cm，横54cm",[101,123],{"id":4952,"slug":4953,"title":4954,"dynasty":51,"author":4955,"museum":53,"description":4956,"tags":4957,"thumbUrl":4959,"material":4960,"size":4961,"collection":65,"collections":4962,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,29,58,36,33,116,7,855,37,681,4958,56],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","绢本浅设色","33x53",[65,102],{"id":4964,"slug":4965,"title":129,"dynasty":109,"author":4966,"museum":1966,"description":4967,"tags":4968,"thumbUrl":4971,"material":1615,"size":4972,"collection":121,"collections":4973,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":69},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。”",[78,23,194,24,36,57,58,7,116,117,4969,4970],"孤树","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[121,65,123],{"id":4975,"slug":4976,"title":4977,"dynasty":1178,"author":2284,"museum":1702,"description":4978,"tags":4979,"thumbUrl":4980,"material":41,"size":41,"collection":41,"collections":4981,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":69},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[78,23,24,56,29,57,33,7,792,82,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],{"id":4983,"slug":4984,"title":4985,"dynasty":155,"author":4986,"museum":307,"description":4987,"tags":4988,"thumbUrl":4989,"material":146,"size":41,"collection":135,"collections":4990,"showCount":4871,"zanCount":201,"manualWeight":45,"mainColor":46},219559,"yu-jia-miao-e-tu-min-zhen-219559","渔家媌娥图","闵贞","垂柳依依拂过空蒙水岸，将江南水乡的柔婉晕染开来。画中渔女荷秤伫立，衣袂线条简劲爽利，带着写意的疏朗，却把渔家劳作后的倦怠质朴刻画入微。人物面部晕染柔和，神情恬淡安然，静望着烟水澹澹的江天，仿佛正等候归船。\n\n背景以淡墨虚化远山，柳枝细笔密叶写出，繁而不乱，与人物的简淡形成虚实对比，烘托出幽寂清旷的氛围。整作以水墨写就，墨色干湿浓淡层次分明，尽显文人写意雅致，又饱含烟火情味，将平凡渔家日常升化为诗意图景，在简淡笔墨间蕴藏悠悠江南意趣。",[78,23,24,56,28,33,34,7,82,1827],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3e252e59b1f535e258aa0277d37b52.jpg",[135],{"id":4992,"slug":4993,"title":4994,"dynasty":109,"author":306,"museum":232,"description":4995,"tags":4996,"thumbUrl":4997,"material":146,"size":41,"collection":65,"collections":4998,"showCount":4871,"zanCount":201,"manualWeight":45,"mainColor":46},218595,"ye-zhou-heng-du-tu-yi-ming-218595","野舟横渡图","河道上长满了树木和茅草屋，河中停泊着两艘中型单桅帆船，下层是客舱，上层是货物，这是从南宋到元朝初期江南地区普遍使用的。",[194,23,24,530,29,58,36,35,37,7,59,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec54b00cf7d69cffe6cbb08e458f926.jpg",[65],{"id":5000,"slug":5001,"title":5002,"dynasty":205,"author":306,"museum":94,"description":5003,"tags":5004,"thumbUrl":5005,"material":146,"size":5006,"collection":65,"collections":5007,"showCount":4871,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[23,530,57,36,33,113,7,116,235,82,37,58,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c5b832746b1a1e3f0abb4065f54693.jpg","25.8x23.7cm",[65],{"id":5009,"slug":5010,"title":5011,"dynasty":205,"author":575,"museum":20,"description":4423,"tags":5012,"thumbUrl":5013,"material":355,"size":356,"collection":41,"collections":5014,"showCount":5015,"zanCount":45,"manualWeight":45,"mainColor":46},290266,"xiao-shan-shu-lin-tu-ke-luo-ban-ni-zan-290266","小山疏林图（珂罗版）",[78,23,194,24,57,36,7,82,38,30,31,693,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6068a25a99e08d7d93bc7a1734380a3c.jpg",[],29,{"id":5017,"slug":5018,"title":5019,"dynasty":109,"author":330,"museum":20,"description":5020,"tags":5021,"thumbUrl":5025,"material":355,"size":356,"collection":41,"collections":5026,"showCount":5015,"zanCount":45,"manualWeight":45,"mainColor":69},288729,"yuan-pu-gui-fan-tu-mu-xi-288729","远浦归帆图","法常，南宋画家。僧，号牧溪，蜀（今四川）人，生卒年不详，其艺术活动主要约在13世纪60－80年代之际。薜居下（乾德初兵部侍郎）之后，宣和间在长沙出家，南宋理宗、度宗时为临安（今杭州）长庆寺僧，与日僧圆尔辨圆（1202—1280）同为径山无准禅师（1178—1249）之法嗣。性英爽，嗜酒。正义爱国，敢于语伤奸相贾似道，遭追捕后，避祸于绍兴丘氏家。至元朝，在天台山万年寺圆寂。法常既是位佛教阐扬者，又是位天才画家。工山水、佛像、人物、龙虎、猿鹤、禽鸟、树石、芦雁等，皆能随笔写成，极有生决心书，墨法蕴藉，幽淡含蓄，形简神完，回味无穷。他继承发扬了石恪、梁楷之水墨简笔法，对沈周、徐渭、八大、“扬州八怪”等均有影响。虽在生时受冷遇，却开后世文士禅僧墨戏之先河，并对日本水墨画之发展产生巨大影响，被誉为“日本画道之大恩人”。",[78,194,23,24,25,57,36,35,7,5022,5023,5024],"远帆","村居","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72a6c21acecbf019c1048b0e1f9f786.jpg",[],{"id":5028,"slug":5029,"title":3063,"dynasty":205,"author":5030,"museum":20,"description":5031,"tags":5032,"thumbUrl":5033,"material":355,"size":356,"collection":41,"collections":5034,"showCount":5015,"zanCount":201,"manualWeight":45,"mainColor":46},288337,"xie-qin-fang-you-tu-luo-zhi-chuan-288337","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。",[78,23,194,56,57,36,7,116,61,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0e4db9c999297de31c0b81240f2c96.jpg",[],{"id":5036,"slug":5037,"title":5038,"dynasty":205,"author":5030,"museum":20,"description":5039,"tags":5040,"thumbUrl":5041,"material":355,"size":356,"collection":41,"collections":5042,"showCount":5015,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,36,57,79,39,282,235,1532,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],{"id":5044,"slug":5045,"title":5046,"dynasty":51,"author":5047,"museum":94,"description":5048,"tags":5049,"thumbUrl":5051,"material":119,"size":5052,"collection":65,"collections":5053,"showCount":5015,"zanCount":201,"manualWeight":45,"mainColor":46},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[23,24,56,29,57,36,33,321,447,59,7,5050],"聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 横一〇四·五厘米",[65,102],{"id":5055,"slug":5056,"title":5057,"dynasty":155,"author":755,"museum":94,"description":5058,"tags":5059,"thumbUrl":5060,"material":5061,"size":5062,"collection":41,"collections":5063,"showCount":5015,"zanCount":45,"manualWeight":45,"mainColor":69},233423,"yuan-ji-shan-shui-ce-shi-tao-233423","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。",[23,24,97,57,58,36,82,7,321,80,855,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":5065,"slug":5066,"title":5067,"dynasty":205,"author":306,"museum":20,"description":5068,"tags":5069,"thumbUrl":5070,"material":41,"size":41,"collection":41,"collections":5071,"showCount":5015,"zanCount":45,"manualWeight":45,"mainColor":46},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[78,23,24,530,29,58,57,36,61,37,38,33,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":5073,"slug":5074,"title":5075,"dynasty":109,"author":585,"museum":20,"description":5076,"tags":5077,"thumbUrl":5079,"material":41,"size":41,"collection":41,"collections":5080,"showCount":5015,"zanCount":45,"manualWeight":45,"mainColor":46},227770,"dai-du-tu-ye-li-tang-227770","待渡图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[78,23,194,29,58,36,35,33,7,59,5078,3857,117,1352,367],"渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],{"id":5082,"slug":5083,"title":5084,"dynasty":51,"author":735,"museum":94,"description":4063,"tags":5085,"thumbUrl":5086,"material":4066,"size":4067,"collection":41,"collections":5087,"showCount":5015,"zanCount":45,"manualWeight":45,"mainColor":69},220913,"shan-shui-ce-7-dong-qi-chang-220913","山水册7",[78,23,24,97,57,36,58,7,59,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56878ebec529936616522b38f900f90f.jpg",[],{"id":5089,"slug":5090,"title":5091,"dynasty":51,"author":921,"museum":20,"description":5092,"tags":5093,"thumbUrl":5097,"material":355,"size":356,"collection":41,"collections":5098,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":46},289794,"liu-kui-shou-ji-tu-lv-ji-289794","榴葵绶鸡图","深秋时分，石榴树上硕果累累，引得各色禽鸟双双对对地聚于其前。绶带鸟停落在树枝上欢快地鸣叫。树下，丛生的秋葵与菊花五彩杂陈，雄鸡昂首前视，雌鸡匍匐于花间。\n整幅画表现出“院体”画工整富丽的特点，又稍加写意画的随意洒脱。鸡采用钩写结合的画法，先以极淡的墨线勾勒外部轮廓，再用各种淡色平涂晕染，雄鸡的尾羽以含水饱满的墨笔加淡汁绿写出，极具质感，爪子则用蛤白勾点，细致入微，甚为写实。画面构图繁复而不拥塞，在着色上尤为讲究，湖石、花叶上的淡绿与雄鸡身上的暗赭红色隐约可见，互为衬托，使得全画的色彩不仅丰富而且和谐统一。整体风格兼工带写，设色艳丽而不媚俗，既保持了华贵的皇家风范，亦兼具了纵逸的笔墨意趣。\n绶带鸟与公鸡相结合的题材，又赋予了此画吉祥富贵的涵义，是对位授三公、加官进爵的美好祝福。",[23,194,27,29,380,3966,39,424,5094,5095,5096,7],"菊","榴花","葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401404af7f723495f6895547298d6cc.jpg",[],28,{"id":5101,"slug":5102,"title":5103,"dynasty":205,"author":2552,"museum":53,"description":5104,"tags":5105,"thumbUrl":5106,"material":270,"size":5107,"collection":41,"collections":5108,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":46},287578,"shuang-pu-gui-yu-tu-tang-di-287578","霜浦归渔图","图画坡石间乔松、枯木及杂树丛立，暮色已起，林边小径上渔人负罾罩等渔具罢渔而归。丛树占据画幅的主要部分，远处的丛林树梢在云霭中隐现，令人遐想。并立的乔松，虬曲多节的枯树，杂树树叶或用夹叶法，或用渍点法。该图人物线描熟练准确，形神俱得。",[23,36,33,321,37,855,81,29,58,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb5e9c27ef08409b1d4699a1ce19e76.jpg","144x89.7",[],{"id":5110,"slug":5111,"title":5112,"dynasty":51,"author":4430,"museum":20,"description":5113,"tags":5114,"thumbUrl":5115,"material":41,"size":41,"collection":65,"collections":5116,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":46},238041,"wen-jia-shan-shui-zhou-wen-jia-238041","文嘉山水轴","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,56,57,29,36,61,37,7,82,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9352b912d9a69a183afa1a3aac3d94ba.jpg",[65],{"id":5118,"slug":5119,"title":5120,"dynasty":155,"author":1640,"museum":20,"description":5121,"tags":5122,"thumbUrl":5123,"material":41,"size":5124,"collection":41,"collections":5125,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":69},238027,"hong-ren-shan-shui-tu-ce-hong-ren-238027","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[23,57,36,97,58,7,82,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bc84f9d5feeb2f6fb185a48793a9bd.jpg","50×36",[],{"id":5127,"slug":5128,"title":3453,"dynasty":155,"author":909,"museum":20,"description":5129,"tags":5130,"thumbUrl":5131,"material":41,"size":41,"collection":65,"collections":5132,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":46},237467,"shan-shui-zhou-hua-yan-237467","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。",[23,29,58,36,117,59,37,38,33,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93002429d8052a89366938df98869cff.jpg",[65,123],{"id":5134,"slug":5135,"title":4903,"dynasty":155,"author":5136,"museum":20,"description":5137,"tags":5138,"thumbUrl":5139,"material":41,"size":41,"collection":41,"collections":5140,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":69},235052,"shan-shui-ce-ye-xu-mei-235052","徐玫","此作用小青绿淡设色写山居幽境，幽瀑自远山轻落，清溪蜿蜒穿林过渚。古松虬曲苍劲，枝叶舒展有灵动之姿，山石以浅绿淡赭晕染，远山化作淡墨烟岚，虚实相生间晕出空濛温润的江南意韵。右侧崖畔茅亭隐于林木间，无人自幽，衬出山林的静穆悠然。\n\n笔法秀雅清润，舍去繁复勾勒，以轻晕淡染营造疏朗萧散的氛围，将文人隐逸的林下之趣融在淡逸色彩中，似可听松风溪声，沉湎于这幽寂恬然的山居景致里，尽显雅致淡远的文人山水意趣。",[23,24,97,29,58,36,37,38,7,447,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436ebfa2e6cbfa736824d8dbe5ce29e6.jpg",[],{"id":5142,"slug":5143,"title":5144,"dynasty":51,"author":4430,"museum":94,"description":5145,"tags":5146,"thumbUrl":5147,"material":2527,"size":5148,"collection":41,"collections":5149,"showCount":5099,"zanCount":201,"manualWeight":45,"mainColor":69},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[23,24,194,56,57,58,26,36,61,37,7,33,59,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":5151,"slug":5152,"title":191,"dynasty":51,"author":735,"museum":94,"description":5153,"tags":5154,"thumbUrl":5155,"material":4066,"size":4067,"collection":41,"collections":5156,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":69},234058,"shan-shui-ce-dong-qi-chang-234058","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。",[23,24,97,57,58,36,59,117,37,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a18510e3f687f4476b0072cc57a56.jpg",[],{"id":5158,"slug":5159,"title":5160,"dynasty":155,"author":2065,"museum":94,"description":5161,"tags":5162,"thumbUrl":5163,"material":344,"size":516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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。",[78,4958,31,32,25,57,30,297,296,36,35,61,37,38,39,116,7,638,5190,424,5094,381,409,1691,5191,5192,5193,5194,779,889,2756,5195,5196,5197,5198,5199],"兰","水仙","鱼","风","雨","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",[1695],{"id":5205,"slug":5206,"title":5207,"dynasty":109,"author":527,"museum":53,"description":5208,"tags":5209,"thumbUrl":5210,"material":5211,"size":5212,"collection":41,"collections":5213,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":69},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[78,23,194,24,97,36,58,57,33,35,195,7,37,779,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":5215,"slug":5216,"title":5217,"dynasty":51,"author":5218,"museum":1714,"description":5219,"tags":5220,"thumbUrl":5222,"material":211,"size":5223,"collection":65,"collections":5224,"showCount":5099,"zanCount":201,"manualWeight":45,"mainColor":46},220026,"ce-zhang-kan-shan-tu-wei-zhi-ke-220026","策杖看山图","魏之克","此作用淡墨晕染山峦，以虚实相生之法铺展烟岚幽谷，栈道隐没在空濛雾气间，恍若通连世外秘境。近景枯木虬曲苍劲，皴笔勾勒出嶙峋老干，尽显岁月沉凝。幽篁小径蜿蜒，策杖老者缓步山隅，简淡衣纹间漾出林下悠然。\n画作以清瘦秀逸的线条、浅淡设色营造萧散简远的意境，将文人寄情林泉的隐逸襟怀融在山野景致中，观之如随画中人静听松风山岚，暂忘尘嚣，尽显文人画尚意抒情的特质。",[78,23,57,56,36,58,7,61,59,1279,5221],"策杖人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe08037b225d61dec338ea640adbb3e0.jpg","132x32厘米",[65],{"id":5226,"slug":5227,"title":5228,"dynasty":51,"author":5229,"museum":53,"description":5230,"tags":5231,"thumbUrl":5232,"material":146,"size":41,"collection":65,"collections":5233,"showCount":5099,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[23,24,194,530,36,33,116,7,82,58,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bb9e640476fbb36251ae27f22cda34.jpg",[65],{"id":5235,"slug":5236,"title":5237,"dynasty":51,"author":5238,"museum":20,"description":5239,"tags":5240,"thumbUrl":5242,"material":41,"size":41,"collection":65,"collections":5243,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":46},239419,"gui-nong-zhou-zhang-lu-239419","归农轴","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。\n此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[23,194,56,57,58,33,36,7,59,5241],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa15f5abc30d1fdeadcb813b27c6ca6.jpg",[65],27,{"id":5246,"slug":5247,"title":5248,"dynasty":51,"author":5249,"museum":20,"description":5250,"tags":5251,"thumbUrl":5252,"material":41,"size":41,"collection":41,"collections":5253,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":69},235772,"ming-qing-zhu-jia-ji-jin-ce-ren-wu-ce-ye-you-qiu-235772","明清诸家集锦册-人物册页","尤求","此作以淡墨绘就林泉雅事，崖边枯木虬曲苍劲，斜曳出清寂幽境。三人围坐，对弈二人敛神注目棋局，指尖将未落子，似正斟酌决胜一步，侧旁老者俯身探看，全神贯注，唯恐错漏棋势起落。\n\n线条清劲秀雅，衣褶灵动简练，淡墨晕染铺陈山石草木层次，留白恰到好处，烘托出静谧悠远的林下氛围，尽抒文人寄情山水、忘忧纹枰的隐逸闲趣，笔墨简淡却意韵悠长，将文人雅致襟怀藏于方寸之间。",[23,24,97,28,57,33,7,82,30,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6837d6bfa5b3dba7db71de50a37861.jpg",[],{"id":5255,"slug":5256,"title":191,"dynasty":51,"author":3903,"museum":20,"description":5257,"tags":5258,"thumbUrl":5259,"material":41,"size":41,"collection":65,"collections":5260,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":46},235147,"shan-shui-ce-li-liu-fang-235147","此作用笔枯淡萧疏，绘就秋林幽境。虬曲古木枝干遒劲，细条错落延展，自带霜后清刚之态。石畔竹丛清润挺秀，与枯木相生，冷暖意趣交织。山石以淡墨勾勒皴擦，留白衬出山涧空寂，寥寥数笔便将深秋的疏冷氛围晕染开来。\n笔意简淡却意韵悠长，把文人寄情丘壑、静守枯淡的林下襟怀藏于尺幅间，古雅清旷，耐人寻味。",[23,24,97,57,58,36,7,82,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2987a8c2e2ecebb95cc45b5b456c27.jpg",[65,123],{"id":5262,"slug":5263,"title":5264,"dynasty":155,"author":977,"museum":94,"description":5265,"tags":5266,"thumbUrl":5269,"material":5270,"size":5271,"collection":41,"collections":5272,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[23,24,56,57,58,36,5267,5268,116,7,59,37,117,1279,855,447],"高岩","溅瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纸本，淡设色","纵104.9厘米，横43厘米",[],{"id":5274,"slug":5275,"title":5276,"dynasty":109,"author":1864,"museum":20,"description":5277,"tags":5278,"thumbUrl":5279,"material":41,"size":41,"collection":41,"collections":5280,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":46},227949,"su-qin-ji-tuan-tu-li-di-227949","宿禽激湍图","《宿禽急湍图》是宋代 的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》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。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[78,194,23,24,27,29,7,1247,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":5282,"slug":5283,"title":5284,"dynasty":205,"author":575,"museum":94,"description":5285,"tags":5286,"thumbUrl":5287,"material":1816,"size":5288,"collection":41,"collections":5289,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":69},221818,"yang-zhu-xi-xiao-xiang-quan-juan-ni-zan-221818","杨竹西小像全卷","这是一幅元代人物肖像画的经典作品，由王绎与著名山水画家倪瓒共同绘制。图绘一老者策杖立坡间，旁点缀松石等简单衬景。本幅左侧倪瓒题款：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年（1363年）。据款识可知此卷为王绎、倪瓒合作而成。此图所绘应为杨氏归老林泉后的晚年肖像。图中杨谦头戴乌巾，右手执杖，衣袍宽松，面相清癯、磊落而有神。描绘精细，人物面部均以淡墨为之，以线为主，略事烘染，着墨不多而神情毕肖，表现出很高的艺术水平。倪瓒所补松石，笔墨枯淡、松秀，与人物相得益彰，共同构成了一幅精美的肖像画作品。\n此图由王绎画杨谦（号竹西）小像，倪瓒补画松石平坡。图中杨谦留着长发，头戴小帽，身着长袍，持杖独立。人物面部用细笔勾描，略用淡墨烘染，形象生动逼真。笔墨不多，却较好地表现了杨竹西“清谦谨慎”的性格。画像后亲以小石的弧松，更加烘托了杨竹亡在宋亡后不仕朝迁的气节。画中倪瓒题云：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年，即公元1363年。卷后有元人邓元祜、杨维祯等十一家题记。",[78,23,24,25,28,57,33,82,7,31,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2134019448775058ad4a63eadde0d16a.jpg","纵27.7厘米，横86.8厘米",[],{"id":5291,"slug":5292,"title":5293,"dynasty":1178,"author":2284,"museum":1180,"description":5294,"tags":5295,"thumbUrl":5297,"material":41,"size":41,"collection":41,"collections":5298,"showCount":5244,"zanCount":201,"manualWeight":45,"mainColor":69},220534,"ye-qu-xu-bei-hong-220534","野趣","浓墨挥写古柳老干，苍劲朴拙尽显岁月沉凝，细枝柔条以淡墨轻曳，疏密间漾开清寂野趣。两只喜鹊俊挺灵动，兼工带写勾勒翎羽，黑白分明，于枯寂枝桠间栖息顾盼，鲜活之气跃然纸上。右下角赭色杂草与附生的青绿藤蔓相映，为萧索冬景晕染几分暖意生机。\n\n画作融写意的苍浑与工笔的精细于一体，将郊野冬日的清寂与生命的灵动相融，萧索底色晕染盎然生趣，寥寥笔墨勾勒出疏淡雅致的野间意韵。",[23,57,29,7,39,380,1827,5296,914],"柳条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab67d6ee5f9c13333af53cc3a7868c6c.jpg",[],{"id":5300,"slug":5301,"title":5302,"dynasty":155,"author":1114,"museum":20,"description":5303,"tags":5304,"thumbUrl":5306,"material":63,"size":5307,"collection":41,"collections":5308,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":69},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[78,23,5305,29,36,58,61,37,509,79,7,59,33,114],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg","30.5×21.5",[],{"id":5310,"slug":5311,"title":5312,"dynasty":205,"author":3054,"museum":53,"description":5313,"tags":5314,"thumbUrl":5315,"material":146,"size":41,"collection":41,"collections":5316,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":69},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[78,23,24,97,57,58,36,79,7,37,3638,2632,2733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],{"id":5318,"slug":5319,"title":5320,"dynasty":155,"author":306,"museum":232,"description":5321,"tags":5322,"thumbUrl":5323,"material":270,"size":5324,"collection":65,"collections":5325,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":46},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[23,29,56,27,39,7,59,37,1245,36,380,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[65],{"id":5327,"slug":5328,"title":5329,"dynasty":155,"author":755,"museum":444,"description":5330,"tags":5331,"thumbUrl":5332,"material":63,"size":5333,"collection":41,"collections":5334,"showCount":5244,"zanCount":45,"manualWeight":45,"mainColor":69},214532,"yi-jin-ling-ce-2-shi-tao-214532","忆金陵册-2","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[23,24,57,97,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee05031faa7b7a1afd8c79955a639fcb.jpg","纵23.8厘米，横19.2厘米",[],{"id":5336,"slug":5337,"title":5338,"dynasty":51,"author":841,"museum":20,"description":3627,"tags":5339,"thumbUrl":5340,"material":355,"size":356,"collection":41,"collections":5341,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},290904,"ming-diao-ma-tu-tang-yin-290904","明调马图",[23,530,29,33,509,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8039eff5db1f3396aeff6633513891cd.jpg",[],26,{"id":5344,"slug":5345,"title":5346,"dynasty":109,"author":110,"museum":20,"description":5347,"tags":5348,"thumbUrl":5350,"material":355,"size":356,"collection":41,"collections":5351,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":46},290325,"song-jian-yin-yue-zhou-ma-yuan-290325","松间吟月轴","该幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢於画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[194,23,56,57,29,36,321,7,33,61,37,297,5349,58],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5499ddfdf61e30afc97a7fce10525.jpg",[],{"id":5353,"slug":5354,"title":5355,"dynasty":109,"author":2964,"museum":20,"description":2965,"tags":5356,"thumbUrl":5359,"material":355,"size":356,"collection":41,"collections":5360,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":46},288945,"xiao-xiang-ba-jing-ping-sha-luo-yan-wang-hong-288945","潇湘八景-平沙落雁",[23,194,25,57,997,7,5357,39,5358,4367],"沙洲","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13cd89090be5aaafbe4eced628d317f.jpg",[],{"id":5362,"slug":5363,"title":5364,"dynasty":51,"author":735,"museum":20,"description":2954,"tags":5365,"thumbUrl":5369,"material":355,"size":356,"collection":41,"collections":5370,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},283733,"lin-chu-sui-liang-ku-shu-fu-juan-dong-qi-chang-283733","临褚遂良枯树赋卷",[78,31,25,32,26,5366,30,79,39,5367,5368,7],"字帖","孤木","霜露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbe2efc33ab5122230daa6a160596c8.jpg",[],{"id":5372,"slug":5373,"title":5374,"dynasty":51,"author":5375,"museum":94,"description":5376,"tags":5377,"thumbUrl":5378,"material":84,"size":5379,"collection":65,"collections":5380,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},239088,"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","赵左","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[23,24,56,57,29,58,36,7,35,37,82,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[65],{"id":5382,"slug":5383,"title":5384,"dynasty":155,"author":1040,"museum":20,"description":5385,"tags":5386,"thumbUrl":5388,"material":355,"size":356,"collection":41,"collections":5389,"showCount":5342,"zanCount":201,"manualWeight":45,"mainColor":69},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,56,29,36,26,35,7,80,117,5387,59,2733],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":5391,"slug":5392,"title":5393,"dynasty":51,"author":3865,"museum":94,"description":5394,"tags":5395,"thumbUrl":5396,"material":41,"size":41,"collection":65,"collections":5397,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":46},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","观梅图轴","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。",[23,24,56,57,27,58,36,638,33,7,116,59,117,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[65,123],{"id":5399,"slug":5400,"title":5401,"dynasty":155,"author":5402,"museum":20,"description":5403,"tags":5404,"thumbUrl":5406,"material":119,"size":5407,"collection":41,"collections":5408,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[23,29,56,380,7,116,412,5405],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5870bd8f431964529394a7aa9ab6cb0f.jpg","149 x 61 cm",[],{"id":5410,"slug":5411,"title":5412,"dynasty":109,"author":539,"museum":20,"description":5413,"tags":5414,"thumbUrl":5415,"material":41,"size":41,"collection":41,"collections":5416,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":46},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《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。",[194,23,24,27,29,57,380,116,7,1279,39,82,779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":5418,"slug":5419,"title":5420,"dynasty":155,"author":2114,"museum":20,"description":5421,"tags":5422,"thumbUrl":5423,"material":41,"size":41,"collection":41,"collections":5424,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},230144,"hua-guo-tu-ce-12-kai-luo-pin-230144","花果图册12开","此作以淡墨枯笔勾勒柏干，蜿蜒虬曲，苍劲老辣尽现古柏历经风霜的拙朴筋骨。枝桠间以焦墨攒点成叶，浓淡交错间虚实相生，将蓊郁繁茂之态暗藏疏密错落里，笔墨洗练却意境饱满。\n\n侧旁题字率意朴拙，笔锋苍劲与画中古柏意趣相融，诗书画印合为一体。全幅不求精细描摹形貌，只以极简笔墨抓取老树虬劲生机，将幽寂古雅的文人意韵藏于方寸间，淡而有味，拙中见灵。",[23,24,97,57,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba5f4b087d39a09468e880350835f7f.jpg",[],{"id":5426,"slug":5427,"title":3063,"dynasty":205,"author":5030,"museum":20,"description":5428,"tags":5429,"thumbUrl":5431,"material":41,"size":41,"collection":41,"collections":5432,"showCount":5342,"zanCount":201,"manualWeight":45,"mainColor":46},228033,"xie-qin-fang-you-tu-luo-zhi-chuan-228033","此作用平远之景铺陈开卷，近岸古木虬结遒劲，枯枝如铁爪横斜，以劲健笔法勾勒出老树历经风霜的沧桑古拙，苔点错落晕染，更添斑驳质感。寒溪萦回浅滩，碎石错落，淡墨轻皴坡岸，尽显清寂荒寒。远景浅墨晕出山峦平沙，层层推远，寥寥数笔便将郊野冬日的空阔淡宕铺展开来。\n\n全作用笔简劲老辣，干笔皴擦尽显枯木苍劲，墨色浓淡相生，于简淡萧疏间营造出幽远孤清的意境，尽显尚简重意的审美意趣，寄寓着林下幽人超尘出俗的襟怀。",[23,57,58,56,79,59,36,7,1245,1352,617,5430],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0822ab22276624f46ebb1f67121fe5.jpg",[],{"id":5434,"slug":5435,"title":4480,"dynasty":109,"author":3635,"museum":20,"description":5436,"tags":5437,"thumbUrl":5439,"material":41,"size":41,"collection":41,"collections":5440,"showCount":5342,"zanCount":201,"manualWeight":45,"mainColor":46},227613,"shan-shui-tu-ye-zhao-ling-rang-227613","赵令穰(北宋)字大年，汴京(今河南开封市)人，生卒年不详，宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠开府仪同三司，追封荣国公。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。\n赵令穰幼时即爱书画﹐富于文学修养﹐家藏有晋唐以来法书名画。他与画家文人时相往来。赵佶(宋徽宗)为端王时亦与他交游﹐切磋画艺。",[78,23,194,24,97,29,58,36,7,1245,59,37,5438],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069c533c496616b5bcf7a2d34a2002ef.jpg",[],{"id":5442,"slug":5443,"title":5444,"dynasty":109,"author":5445,"museum":20,"description":5446,"tags":5447,"thumbUrl":5448,"material":41,"size":41,"collection":41,"collections":5449,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":46},227410,"shen-jun-tu-li-zhou-li-yong-ji-227410","神骏图立轴","李用及","宋代画家李永基善画解说，尤善鬼神。 体格结实，强壮，不受约束，并不特别怪异。 唯一大师吴升（桃子）的笔。 其父掌管天五库军，能画天阔马，是韩干笔法的典范。 顾维佑也为病马干活。",[78,23,194,56,27,29,509,482,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb813d9e9ed4d72843f7460da6848b829.jpg",[],{"id":5451,"slug":5452,"title":5453,"dynasty":155,"author":755,"museum":20,"description":5454,"tags":5455,"thumbUrl":5456,"material":41,"size":41,"collection":41,"collections":5457,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[78,23,57,29,58,97,36,61,37,35,7,59,80,117,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":5459,"slug":5460,"title":5461,"dynasty":155,"author":1726,"museum":20,"description":5462,"tags":5463,"thumbUrl":5464,"material":41,"size":41,"collection":41,"collections":5465,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[78,23,57,58,26,56,36,59,80,117,37,61,30,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":5467,"slug":5468,"title":5469,"dynasty":109,"author":306,"museum":53,"description":5470,"tags":5471,"thumbUrl":5472,"material":3147,"size":5473,"collection":65,"collections":5474,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,294,29,27,36,113,7,116,59,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[65,123],{"id":5476,"slug":5477,"title":5478,"dynasty":109,"author":3481,"museum":540,"description":5479,"tags":5480,"thumbUrl":5483,"material":370,"size":5484,"collection":121,"collections":5485,"showCount":5342,"zanCount":201,"manualWeight":45,"mainColor":69},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","秋山萧寺图","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。",[78,194,23,24,25,57,29,58,36,5481,5482,117,59,367,245,116,7,448,37,38],"秋山","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[121,65,123],{"id":5487,"slug":5488,"title":5489,"dynasty":1178,"author":1179,"museum":5490,"description":5491,"tags":5492,"thumbUrl":5493,"material":5494,"size":41,"collection":41,"collections":5495,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},220511,"jing-guan-pu-xin-she-220511","景观","The Baltimore Museum of Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[78,24,23,36,56,57,29,58,171,1643,172,1443,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg","Ink and color on paper",[],{"id":5497,"slug":5498,"title":5499,"dynasty":205,"author":306,"museum":53,"description":5500,"tags":5501,"thumbUrl":5502,"material":146,"size":41,"collection":65,"collections":5503,"showCount":5342,"zanCount":45,"manualWeight":45,"mainColor":69},218656,"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[78,23,24,97,57,29,36,172,38,37,58,7,693,235,60,3955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae9bfc8cfcf642803d8d009b93b445d.jpg",[65],{"id":5505,"slug":5506,"title":5507,"dynasty":205,"author":1551,"museum":20,"description":4396,"tags":5508,"thumbUrl":5509,"material":355,"size":356,"collection":41,"collections":5510,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":69},290822,"yuan-shu-lin-yuan-shan-wu-zhen-290822","元疎林远山",[23,194,24,57,36,1564,7,59,60,58,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeb34e136ba53cca7ce0b9820edabe6.jpg",[],25,{"id":5513,"slug":5514,"title":5515,"dynasty":205,"author":231,"museum":20,"description":2486,"tags":5516,"thumbUrl":5517,"material":355,"size":356,"collection":41,"collections":5518,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":46},290444,"lin-quan-qing-ji-tu-ke-luo-ban-wang-meng-290444","林泉清集图（珂罗版）",[78,194,23,56,57,36,58,7,59,38,31,30,4670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70217a7e0130994447fdb553a6eb776.jpg",[],{"id":5520,"slug":5521,"title":5522,"dynasty":851,"author":5523,"museum":20,"description":5524,"tags":5525,"thumbUrl":5526,"material":355,"size":356,"collection":41,"collections":5527,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":46},289962,"zhu-shi-jin-jiu-tu-huang-ju-cai-289962","竹石锦鸠图","黄居寀","《竹石锦鸠图》里虽有黄居采善画之怪石，但由于又有墨色浓淡对比强烈等南宋用笔特色，应是后人假托黄居采之名的作品。全画描写生动细致，是一件宋代花鸟画佳作。",[23,194,380,27,39,424,82,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c080b67f0446de1ed999dd47a308c5.jpg",[],{"id":5529,"slug":5530,"title":5531,"dynasty":205,"author":231,"museum":20,"description":2486,"tags":5532,"thumbUrl":5533,"material":355,"size":356,"collection":41,"collections":5534,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":46},289553,"dan-ya-cui-he-tu-wang-meng-289553","丹崖翠壑图",[194,23,57,56,36,33,7,59,37,31,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df6912bf26fb9204081cf98fa372225.jpg",[],{"id":5536,"slug":5537,"title":5538,"dynasty":109,"author":110,"museum":20,"description":5539,"tags":5540,"thumbUrl":5541,"material":355,"size":356,"collection":41,"collections":5542,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":46},289126,"shan-lou-lai-feng-tu-ma-yuan-289126","山楼来凤图","是融山水与人物画于一体的佳作。画面上崖壁虬松，溪桥殿宇，文人相偕而行，一旁稚童抱琴侍立。在笔墨运用上，山石多用长斧劈皴，画松瘦硬屈曲、用墨凝重、用笔刚健、笔锋显露，为典型的马远一派画风。",[23,194,56,57,36,294,33,113,61,39,7,59,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55bee4cd37aee0d3324f6d1431a67af2.jpg",[],{"id":5544,"slug":5545,"title":5546,"dynasty":51,"author":4430,"museum":20,"description":5547,"tags":5548,"thumbUrl":5549,"material":41,"size":41,"collection":41,"collections":5550,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":46},239508,"jiang-nan-qiu-se-tu-zhou-wen-jia-239508","江南秋色图轴","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。",[23,24,56,29,36,58,33,509,117,114,37,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb264b32edebbf4b6fad5f761cbd88b0d.jpg",[],{"id":5552,"slug":5553,"title":2152,"dynasty":155,"author":1114,"museum":20,"description":5554,"tags":5555,"thumbUrl":5556,"material":41,"size":41,"collection":41,"collections":5557,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":69},237584,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237584","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》。",[23,24,97,57,29,58,1117,36,79,35,37,59,38,61,82,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde38f8e39039eeb81895aa4915e1f49.jpg",[],{"id":5559,"slug":5560,"title":5561,"dynasty":155,"author":5562,"museum":94,"description":5563,"tags":5564,"thumbUrl":5565,"material":84,"size":5566,"collection":65,"collections":5567,"showCount":5511,"zanCount":201,"manualWeight":45,"mainColor":69},236110,"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","张宗苍","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[23,57,58,36,37,7,82,235,367,117,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbwe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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。",[23,194,24,36,29,58,116,7,1169,1219,33,171,114,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],{"id":5613,"slug":5614,"title":5615,"dynasty":155,"author":755,"museum":20,"description":5616,"tags":5617,"thumbUrl":5618,"material":41,"size":41,"collection":41,"collections":5619,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,23,24,97,57,58,36,35,37,39,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a05b280c06a6313490c10405c040edb.jpg",[],{"id":5621,"slug":5622,"title":5623,"dynasty":109,"author":306,"museum":168,"description":5624,"tags":5625,"thumbUrl":5626,"material":370,"size":5627,"collection":101,"collections":5628,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":46},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[78,23,24,25,57,29,27,58,31,30,79,7,39,282,37,617,3601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[101,102],{"id":5630,"slug":5631,"title":3453,"dynasty":51,"author":5632,"museum":540,"description":5633,"tags":5634,"thumbUrl":5635,"material":1087,"size":5636,"collection":65,"collections":5637,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":69},222533,"shan-shui-zhou-wang-duo-222533","王铎","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[78,23,24,56,57,36,7,80,59,117,856,481,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 厘米",[65,123],{"id":5639,"slug":5640,"title":5641,"dynasty":51,"author":5229,"museum":53,"description":5642,"tags":5643,"thumbUrl":5644,"material":41,"size":41,"collection":41,"collections":5645,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":69},222328,"shan-shui-tu-zhe-shan-shen-shi-chong-222328","山水图折扇","《山水图折扇》的题材内容、构图格局、意境趣味、笔墨技法以及后人对他们的评论的具体分析,将沈士充的绘画的流畅、柔和、迷、古雅神韵的艺术风格及其绘画美学思想和观念,以及他作为董其昌代笔人的历史情况进行简单地梳理。",[78,23,24,530,36,57,29,59,7,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a96e95c87067688a0984cfef02f7dc1.jpg",[],{"id":5647,"slug":5648,"title":5649,"dynasty":51,"author":898,"museum":1966,"description":5650,"tags":5651,"thumbUrl":5652,"material":97,"size":41,"collection":41,"collections":5653,"showCount":5511,"zanCount":201,"manualWeight":45,"mainColor":69},221911,"hua-niao-jing-pin-ce-8-chen-hong-shou-221911","花鸟精品册8","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[23,24,97,29,27,380,7,39,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f428190af9d8e38adbc8575cb53afae.jpg",[],{"id":5655,"slug":5656,"title":5657,"dynasty":205,"author":306,"museum":53,"description":5658,"tags":5659,"thumbUrl":5661,"material":146,"size":5662,"collection":65,"collections":5663,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":69},219055,"yan-shui-gu-zhou-yi-ming-219055","烟水孤舟","淡墨晕染的烟水间，一叶孤舟轻漾，似与天地相融。岸边老树枝干虬曲，松针疏朗，墨色浓淡间见苍劲之姿；远处峰峦隐于烟霭，虚实相生，恰是元人山水的空灵之境。水色空濛，舟影孑然，没有喧嚣，只有天地间的静默与清寂——仿佛能听见水波轻拍船舷的微响，或是林间风过的疏声。线条简淡却含力道，墨色层次丰富，从近树的浓墨到远山的淡染，过渡自然，将烟水的缥缈与孤舟的寂寥刻画得入木三分。这般景致，是文人心中的避世之境，也是自然与心境的交融，寥寥数笔，道尽元人山水的含蓄与深远。",[78,23,530,57,58,36,35,7,235,209,5660],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd088de0b4b41a57a3d089f8b935ea627.jpg","23.4x24.7",[65],{"id":5665,"slug":5666,"title":5667,"dynasty":155,"author":5668,"museum":53,"description":5669,"tags":5670,"thumbUrl":5671,"material":63,"size":5672,"collection":101,"collections":5673,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":69},218804,"mei-que-tu-dai-hong-218804","梅雀图","戴洪","戴洪，生卒年藉贯均不可考，高宗乾隆时，任职内廷画院为供奉，擅长山水画，以和丁观鹏、程志道、金昆、孙佑等人，合画清明上河图出名。\n他的画，不论用笔勾画输廓，用墨分染明暗，都非常工细，着色尤其是明净鲜丽，予人一种情眞景实的实境感觉。\n本幅画梅树和山雉便是一例。但是，这种崇尚技巧的院画，并不受一般「重意象轻形似」的文人画家所欢迎。",[23,24,194,56,380,27,57,638,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3557fdc9c807ebe9bebe162eb18b2de.jpg","167.6x91.1cm",[101],{"id":5675,"slug":5676,"title":5677,"dynasty":109,"author":647,"museum":232,"description":648,"tags":5678,"thumbUrl":5679,"material":370,"size":41,"collection":41,"collections":5680,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":46},218084,"luo-han-tu-ce-4-li-gong-lin-218084","罗汉图册-4",[78,194,23,24,97,28,57,650,33,7,424,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a267a2508ebb826f60078b3c5f38d7.jpg",[],{"id":5682,"slug":5683,"title":5684,"dynasty":155,"author":5685,"museum":157,"description":5686,"tags":5687,"thumbUrl":5688,"material":41,"size":41,"collection":65,"collections":5689,"showCount":5511,"zanCount":45,"manualWeight":45,"mainColor":5690},201839,"kong-shan-ji-xue-tu-zhou-wang-su-201839","空山积雪图轴","王素","积雪覆裹峰峦，层岩叠嶂间，淡墨晕染出雪的莹润与空濛。山石以细笔勾廓，皴法轻施，既现肌理又衬雪色皎洁。山间小径隐现，几间茅舍依偎寒林，枯枝疏朗，似含清寂之韵。近处树木枝干虬劲，干笔皴擦见苍劲；远处山影淡远，留白与墨色交织，拓延悠远意境。笔墨简练却意趣丰盈，清逸雅致中透着文人超然物外的心境，将冬日空山的静谧之美凝于尺幅，尽显自然与心性的交融之妙。",[23,36,58,29,82,7,38,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68aaa7a7d515d65fdfe9c3105b2b00e.jpg",[65],"bca372",{"id":5692,"slug":5693,"title":5694,"dynasty":109,"author":110,"museum":20,"description":4517,"tags":5695,"thumbUrl":5696,"material":355,"size":356,"collection":41,"collections":5697,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":46},290341,"shan-shui-ren-wu-zhou-ma-yuan-290341","山水人物轴",[23,24,56,36,33,7,59,296,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2efa039e0450aefee13856451ab38a66.jpg",[],{"id":5699,"slug":5700,"title":5701,"dynasty":109,"author":585,"museum":20,"description":1987,"tags":5702,"thumbUrl":5703,"material":355,"size":356,"collection":41,"collections":5704,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":46},290336,"qiu-jiang-dai-du-zhou-li-tang-290336","秋江待渡轴",[194,23,56,57,36,35,79,1532,1208,31,30,7,3311,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a4481f5c3f29eef9d999b06c8ee20.jpg",[],{"id":5706,"slug":5707,"title":5708,"dynasty":155,"author":1640,"museum":20,"description":5709,"tags":5710,"thumbUrl":5711,"material":355,"size":356,"collection":41,"collections":5712,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},289969,"you-ting-xiu-mu-tu-zhou-hong-ren-289969","幽亭秀木图轴","画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[23,57,56,24,36,38,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66a3b0096caacb82c81ea0f5776785c.jpg",[],{"id":5714,"slug":5715,"ti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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[23,24,97,57,36,7,59,33,31,2635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b35e573c86fcfea5df386d13312a7e.jpg",[],{"id":5722,"slug":5723,"title":2152,"dynasty":155,"author":1114,"museum":20,"description":5554,"tags":5724,"thumbUrl":5725,"material":41,"size":41,"collection":41,"collections":5726,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[23,24,97,57,58,26,36,79,7,82,855,1119,117,2899,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],{"id":5728,"slug":5729,"title":5730,"dynasty":155,"author":3463,"museum":94,"description":5731,"tags":5732,"thumbUrl":5733,"material":41,"size":41,"collection":41,"collections":5734,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},234790,"bu-duo-hou-song-po-du-zuo-tu-xiang-zhou-cha-shi-biao-234790","补多侯松坡独坐图像轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水，为海阳四家之一。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[23,56,57,33,321,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47325813bace357ceaf9d97d5cd3f2f3.jpg",[],{"id":5736,"slug":5737,"title":5738,"dynasty":155,"author":5402,"museum":94,"description":5739,"tags":5740,"thumbUrl":5741,"material":197,"size":5742,"collection":41,"collections":5743,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},233725,"feng-chen-san-xia-tu-ping-ren-yi-233725","风尘三侠图屏","风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。",[23,24,56,29,27,33,2249,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b2b0fa9463cf94c5bf3e654b948eb5.jpg","纵148.5厘米，横66厘米",[],{"id":5745,"slug":5746,"title":5057,"dynasty":155,"author":755,"museum":94,"description":5058,"tags":5747,"thumbUrl":5749,"material":5061,"size":5062,"collection":41,"collections":5750,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},233420,"yuan-ji-shan-shui-ce-shi-tao-233420",[23,57,58,36,7,5748,59,209,30],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13c86746ad2136d441ce39e6d598d2b7.jpg",[],{"id":5752,"slug":5753,"title":5754,"dynasty":5755,"author":306,"museum":20,"description":5756,"tags":5757,"thumbUrl":5758,"material":355,"size":356,"collection":41,"collections":5759,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,194,650,29,33,117,39,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4255253992ef4343df6460318aa80d0.jpg",[],{"id":5761,"slug":5762,"title":5763,"dynasty":109,"author":306,"museum":53,"description":5764,"tags":5765,"thumbUrl":5772,"material":344,"size":5773,"collection":41,"collections":5774,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":46},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[194,23,24,36,56,57,58,5766,3638,5767,5768,5769,5770,5771,59,7,61,37,38],"山岭","茅亭","荷塘","泛舟","竹院","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":5776,"slug":5777,"title":5778,"dynasty":155,"author":3463,"museum":20,"description":5779,"tags":5780,"thumbUrl":5781,"material":41,"size":41,"collection":41,"collections":5782,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},230299,"shan-shui-shi-kai-cha-shi-biao-230299","山水十开","此作用笔松秀空灵，以极简构景铺就幽寂冬境。几株寒木瘦劲出枝，淡笔勾勒嶙峋躯干，细笔写残叶萧疏，尽显清癯孤傲之态。留白为寒水浅滩，隐见板桥卧波，远山以枯淡泼墨轻扫，虚实间晕染出淡远空濛。\n\n整幅以少胜多，脱尽尘俗烟火气，将江南冬日清旷荒寒之景诉诸笔端，淡墨轻岚里晕开空寂诗意。观之如临荒寒水畔，浸得一身清宁，尽显静穆淡远的文人雅韵。",[23,24,57,36,7,61,59,58,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfc33c830462f885ce8379dce9b76aa.jpg",[],{"id":5784,"slug":5785,"title":5786,"dynasty":51,"author":5787,"museum":20,"description":5788,"tags":5789,"thumbUrl":5792,"material":41,"size":41,"collection":41,"collections":5793,"showCount":44,"zanCount":201,"manualWeight":45,"mainColor":46},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","杜堇","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[78,23,29,27,33,36,638,5790,82,7,235,209,117,5791,57],"琴","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":5795,"slug":5796,"title":5797,"dynasty":205,"author":5030,"museum":20,"description":5798,"tags":5799,"thumbUrl":5800,"material":41,"size":41,"collection":41,"collections":5801,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":46},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[78,23,24,530,57,36,58,7,61,37,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":5803,"slug":5804,"title":5805,"dynasty":109,"author":110,"museum":20,"description":5806,"tags":5807,"thumbUrl":5808,"material":41,"size":41,"collection":41,"collections":5809,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,194,23,24,29,58,33,36,638,116,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":5811,"slug":5812,"title":5813,"dynasty":155,"author":5814,"museum":1381,"description":5815,"tags":5816,"thumbUrl":5818,"material":344,"size":5819,"collection":41,"collections":5820,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","程邃","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[78,194,23,24,57,58,36,61,37,35,82,7,80,59,117,5817],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":5822,"slug":5823,"title":5824,"dynasty":51,"author":5825,"museum":53,"description":5826,"tags":5827,"thumbUrl":5828,"material":270,"size":5829,"collection":41,"collections":5830,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},222445,"qiu-ying-zhou-lin-liang-222445","秋鹰轴","林良","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意"没骨"技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[78,23,24,56,380,57,481,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436250ff57a682c1ca1c0fb07cbd8b47.jpg","136.8×74.8cm",[],{"id":5832,"slug":5833,"title":924,"dynasty":51,"author":1540,"museum":53,"description":5834,"tags":5835,"thumbUrl":5836,"material":344,"size":5837,"collection":41,"collections":5838,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},222413,"yuan-yang-zhou-zhi-mian-222413","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[78,530,29,27,380,924,7,39,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98587f1cbafb6c6a4d818fd057a66c80.jpg","17.5x47.3",[],{"id":5840,"slug":5841,"title":5842,"dynasty":155,"author":755,"museum":444,"description":5330,"tags":5843,"thumbUrl":5844,"material":63,"size":5333,"collection":41,"collections":5845,"showCount":44,"zanCount":45,"manualWeight":45,"mainColor":69},214531,"yi-jin-ling-ce-3-shi-tao-214531","忆金陵册-3",[23,24,97,57,29,36,33,7,35,80,117,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aff57056092af138d63c25edfe525d.jpg",[],{"id":5847,"slug":5848,"title":4082,"dynasty":205,"author":5849,"museum":20,"description":5850,"tags":5851,"thumbUrl":5852,"material":355,"size":356,"collection":41,"collections":5853,"showCount":5854,"zanCount":201,"manualWeight":45,"mainColor":46},290952,"chun-shan-tu-yang-wei-zhen-290952","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。",[194,23,24,36,57,58,31,32,30,7,61,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf89c0a69b3ee926f600580cf3131eb.jpg",[],23,{"id":5856,"slug":5857,"title":5858,"dynasty":109,"author":5859,"museum":20,"description":5860,"tags":5861,"thumbUrl":5862,"material":355,"size":356,"collection":41,"collections":5863,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":46},290257,"liu-yin-shi-si-tu-song-ru-zhi-290257","柳荫诗思图","宋汝志","宋汝志[元]道士。号碧云，钱塘（今杭州）人。宋景定（一二六o―一二六四）间画院待诏，入元（一二七七）为开元观道士。人物、山水、花鸟师楼观。",[78,23,194,24,56,29,33,34,82,7,1827,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe39bbb4ceaf01e5b0e05bbf956851857.jpg",[],{"id":5865,"slug":5866,"title":5867,"dynasty":205,"author":5868,"museum":20,"description":5869,"tags":5870,"thumbUrl":5873,"material":355,"size":356,"collection":41,"collections":5874,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":46},290083,"zhong-kui-tu-chen-lin-290083","钟馗图","陈琳","绘严寒冬季，树木枝叶疏落，在萧旷之野，身材魁伟的钟馗伫立于林下的坡地上!胸怀中抱有笏板，头戴幞巾，穿宽身袍服，腰系玉带，脚穿皂靴，厂‘袖因风而飘，缩着颈脖，显出寒风凛凛冷意。但形象威严，目睛圆瞪，须髯如戟，炯炯有神，背景为枯树荆柯，宽阔坡陀为枯草所覆盖，斜坡上长有几棵大树，树干挺拔直上，顶天立地：树干上有不少疤结，枝叶疏落，大树下的丛丛荆柯枝干交错，树叶脱落，显示是严寒的冬天季节。作者所描绘一片寒林，枯梢老槎，显得苍劲高古，枝丫相互穿插，虚实、浓淡的处理，都是为了表现寒林的深度，画家利用虚实关系拉大了空间，作者不但在寒林的后面用淡墨画了类似的树木，还以云雾来加强树林的纵深，使人感到寒气逼人、全图笔法简括刚韧，以线描为主，辅以皴染，明显带有南宋画院体风貌。人物造型准确，刻画得生动传神，钟馗的衣纹十分简洁，和周围景物的描绘上又十分准确精到，因而能达到情景交融的境界。这是此画最为成功之处。它在于将钟馗缩脖无颈，一副缩着脖子畏寒的样子跃然纸上，瑟缩着的钟馗和寒林一样都突出一个寒字，相互衬托，加强了作品荒寒气氛。故此画在人物形态神情的刻画及其立意上颇有独到之处。",[23,194,33,57,56,5871,79,7,30,5872],"钟馗","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8970376efca2494a23a4ad5bef46147f.jpg",[],{"id":5876,"slug":5877,"title":5878,"dynasty":109,"author":2964,"museum":20,"description":2965,"tags":5879,"thumbUrl":5880,"material":355,"size":356,"collection":41,"collections":5881,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":46},288734,"xiao-xiang-ba-jing-tu-juan-liu-wang-hong-288734","潇湘八景图卷六",[194,23,25,57,997,36,35,7,2633,37,61,33,1351,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd2db077996acb7d84eeb715093b04f.jpg",[],{"id":5883,"slug":5884,"title":5885,"dynasty":109,"author":1864,"museum":53,"description":5886,"tags":5887,"thumbUrl":5890,"material":370,"size":5891,"collection":41,"collections":5892,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":46},288488,"san-gu-tu-li-di-288488","三顾图","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”。",[78,23,24,997,5888,29,7,116,4641,59,5889,31,30,58,33],"人物画","三顾茅庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57784c84fc84774a15e3779c68ad0b6e.jpg","82.5x175.7厘米",[],{"id":5894,"slug":5895,"title":5896,"dynasty":51,"author":735,"museum":20,"description":2954,"tags":5897,"thumbUrl":5898,"material":355,"size":356,"collection":41,"collections":5899,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":69},283698,"shan-ju-tu-shan-ye-dong-qi-chang-283698","山居图扇页",[530,23,194,57,36,7,2488,38,59,31,32,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9638a03be3887c4a4369454edfa5e3.jpg",[],{"id":5901,"slug":5902,"title":5903,"dynasty":155,"author":2086,"museum":20,"description":5904,"tags":5905,"thumbUrl":5906,"material":41,"size":41,"collection":41,"collections":5907,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":69},239051,"shan-shui-hua-niao-ce-yang-jin-239051","山水花鸟册","杨晋 ，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[23,24,97,57,58,30,36,33,37,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6136e48c08d32b04c6c2777897512f54.jpg",[],{"id":5909,"slug":5910,"title":5911,"dynasty":51,"author":5912,"museum":20,"description":4904,"tags":5913,"thumbUrl":5914,"material":41,"size":41,"collection":41,"collections":5915,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":69},234670,"cong-shan-shui-shan-mian-gong-yun-234670","从山水扇面","龚云",[530,23,24,57,29,36,61,37,35,39,38,245,113,33,30,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0deb888dcc6e61f9401f6daf73a09633.jpg",[],{"id":5917,"slug":5918,"title":5919,"dynasty":51,"author":841,"museum":20,"description":5920,"tags":5921,"thumbUrl":5922,"material":41,"size":41,"collection":41,"collections":5923,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":46},231396,"ren-wu-gu-shi-tu-tang-yin-231396","人物故事图","唐寅生于成化六年二月初四，卒于嘉靖二年十二月二日，字伯虎，后改字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，明代画家、书法家、诗人。\n二十九岁时由诸生举应乡试，得第一名解元，名声大噪，故人称唐解元。而后，家中连遭不幸，父母、妻子、妹妹相继去世。三十岁时进京会试，涉会试泄题案而被革黜。后游历名山大川，以卖文鬻画闻名天下。\n早年随沈周、周臣学画，宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。\n唐寅的人物作品传世颇多，无论是单幅人物还是群像无不精彩。这件吹萧仕女图尺幅巨大，然笔笔精到，无一败者，可以说是达到了通会之际人画俱老的境界。他的人物画有两种风格，一种是繁笔重彩，另外一种则是简笔淡彩。前一种画风是从唐人重彩画而来。而这张画则是前一种画风的杰作。 从线描的技巧来看，他运用了唐代吴道子的兰叶描。一波三折，如风中不断翻转着的兰叶，充满着内在的韵律。在仕女面部开相上，丰额细眉，眼小如线。在烘染上则用唐代盛行的三白法，厚而不腻，对比强烈。细观该画中的仕女，其头发丝的烘染，也是一丝不苟，层层深入的。古人说画人难画手，画树难画柳。因为人手部的结构复杂，表现不好不是僵就是软。而唐寅对手的刻画真是细致人微，让人似乎可以感觉到仕女手部的温暖。在衣服格纹的钩染与填色上，也是一丝不苟。从整体上看，这件作品的色彩古雅沉静，有着青铜器一样幽深无际之感。表现出晚年唐寅人物画风的一个重要变化，他试图在大幅人物画中将粗笔的写意与工笔的钩染相结合起来。这说明他的绘画艺术还在发展着，可惜的是他这种尝试还没有完全成熟就去世了。 古人画仕女多是借美人香草而别有怀抱的。因这件画幅只落有穷款，我们无法推知作者在画这件作品时的喻意。画中表现的是一个着宫装的贵族仕女在吹着洞萧，我们虽然昕不到声音，但是通过画面似乎听到幽怨的萧声自画中传出来。唐寅晚年是很凄苦的，妻子和儿子先他而去。家庭的温暖不再可得，故他笔下的人物也多有哀怨之色。这件作品表面上看非常之富丽华贵，而其骨子里却是悲凉的。",[78,23,24,27,29,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86cd1be9df83a8a61d6a9c212c4aebd.jpg",[],{"id":5925,"slug":5926,"title":5927,"dynasty":205,"author":5928,"museum":53,"description":5929,"tags":5930,"thumbUrl":5931,"material":270,"size":5932,"collection":41,"collections":5933,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":46},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","王渊","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[78,194,23,24,56,57,58,2622,38,33,61,37,35,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":5935,"slug":5936,"title":5937,"dynasty":155,"author":1040,"museum":53,"description":5938,"tags":5939,"thumbUrl":5940,"material":146,"size":5941,"collection":41,"collections":5942,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":46},224494,"mei-hua-shan-guan-zhou-wu-li-224494","梅花山馆轴","青绿山峦雄踞左幅，古松虬曲苍劲，枝桠舒展撑出一片清寂天地。山涧春水初涨，暖雾轻笼远峰，将黛色晕作朦胧烟影，柔化了山棱的冷硬。\n右侧水榭山馆凌波而起，几株梅树临水横斜，素花缀枝，暗香仿佛随春水悠悠漫开。白衣策杖的隐者驻足松下，凝睇烟景，将尘俗心绪尽皆抛却。\n整作设色古雅沉静，构图疏密相济，把早春山乡的清润生机，和幽居雅逸的林下襟怀相融，笔底漫溢着悠然淡远的隐逸诗意，藏着文人寄情林泉的悠悠雅兴。",[23,24,56,29,58,36,638,113,61,7,59,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b205a90514253e5b2536e69943f40e.jpg","104.3x52.1",[],{"id":5944,"slug":5945,"title":5946,"dynasty":109,"author":2407,"museum":53,"description":5947,"tags":5948,"thumbUrl":5949,"material":29,"size":5950,"collection":41,"collections":5951,"showCount":5854,"zanCount":201,"manualWeight":45,"mainColor":664},221629,"xian-mang-tu-zhou-ma-he-zhi-221629","闲忙图轴","马和之：南宋画家，钱塘（今浙江省杭州市）人。擅长画人物、佛像、山水。他的人物画受吴道子、李公麟影响而又有所变化，能独创一格。中国传统人物 画衣纹十八描中的马蝗描就是他把吴道子的兰叶描变化发展而创造出来的。其画用笔起伏顿挫，线条粗细变化较明显，又飘逸流利，显得活泼 潇洒，富于韵律感。他画人物多以水墨为主，即使着色，也比较轻淡，当时人称之为“小吴生”（吴生即吴道子）。",[78,23,24,56,29,33,7,59,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7399dfe9d03dab145ab54a0cfb5655e7.jpg","124.5x67.2",[],{"id":5953,"slug":5954,"title":5955,"dynasty":51,"author":735,"museum":736,"description":5956,"tags":5957,"thumbUrl":5958,"material":97,"size":740,"collection":41,"collections":5959,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":41},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[78,23,57,36,26,58,30,7,82,245,117,588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg",[],{"id":5961,"slug":5962,"title":5963,"dynasty":51,"author":1944,"museum":94,"description":5964,"tags":5965,"thumbUrl":5966,"material":344,"size":5967,"collection":135,"collections":5968,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":69},219862,"wen-jin-tu-wu-wei-219862","问津图","吴伟（1459—1508年），字士英，又字次翁，号小仙，江夏（今湖北武汉）人。",[78,23,24,25,29,32,1856,33,7,114,769,117,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7f98dcd688a6d6944b102a42c5da70.jpg","纵46.3cm; 横110.2cm",[135],{"id":5970,"slug":5971,"title":5972,"dynasty":109,"author":647,"museum":232,"description":648,"tags":5973,"thumbUrl":5974,"material":370,"size":41,"collection":41,"collections":5975,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":46},218086,"luo-han-tu-ce-2-li-gong-lin-218086","罗汉图册-2",[78,23,24,97,28,57,650,33,7,82,424,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef32533e0a8e2c73a9ac98b88eaed196.jpg",[],{"id":5977,"slug":5978,"title":5979,"dynasty":51,"author":306,"museum":307,"description":308,"tags":5980,"thumbUrl":5981,"material":63,"size":41,"collection":41,"collections":5982,"showCount":5854,"zanCount":45,"manualWeight":45,"mainColor":69},217948,"ming-ren-shan-shui-hua-ce-qi-yi-ming-217948","明人山水画册(七)",[78,23,24,97,57,58,36,171,172,7,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265893252de5c9f63ff7626980bdf4ce.jpg",[],{"id":5984,"slug":5985,"title":5986,"dynasty":155,"author":377,"museum":232,"description":5987,"tags":5988,"thumbUrl":5989,"material":211,"size":41,"collection":41,"collections":5990,"showCount":5854,"zanCount":201,"manualWeight":45,"mainColor":69},214429,"shan-shui-tu-ce-2-zhu-da-214429","山水图册-2","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[78,23,24,57,97,58,36,39,7,59,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4cf7726b542ef74bf52a253e399bd0.jpg",[],{"id":5992,"slug":5993,"title":5994,"dynasty":155,"author":977,"museum":53,"description":978,"tags":5995,"thumbUrl":5996,"material":63,"size":1297,"collection":41,"collections":5997,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},290545,"qiao-ke-xiu-zhu-zhou-yun-shou-ping-290545","乔柯修竹轴",[194,23,24,56,57,29,7,424,82,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98cb37de6ee0d2bd65b6fb413d94f1.jpg",[],{"id":5999,"slug":6000,"title":6001,"dynasty":155,"author":457,"museum":20,"description":6002,"tags":6003,"thumbUrl":6004,"material":355,"size":356,"collection":41,"collections":6005,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},289968,"fang-ni-shan-shui-wang-shi-min-289968","仿倪山水","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[194,23,24,56,57,36,26,7,39,61,37,82,30,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf804a5c772a5924000eff3f02dc044c.jpg",[],{"id":6007,"slug":6008,"title":6009,"dynasty":51,"author":2721,"museum":20,"description":6010,"tags":6011,"thumbUrl":6012,"material":355,"size":356,"collection":41,"collections":6013,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":46},289789,"shan-cun-tu-li-zai-289789","山村图","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。",[194,23,36,113,80,35,39,116,7,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501868e78597399ce0c3278de9863e44.jpg",[],{"id":6015,"slug":6016,"title":3752,"dynasty":109,"author":265,"museum":20,"description":6017,"tags":6018,"thumbUrl":6019,"material":355,"size":356,"collection":41,"collections":6020,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":46},289374,"dong-ting-qiu-yue-tu-xia-gui-289374","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。",[23,194,56,57,58,36,7,116,82,35,297,37,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dc250e39a664397ff48c4925b0cb88.jpg",[],{"id":6022,"slug":6023,"title":6024,"dynasty":51,"author":2721,"museum":20,"description":6025,"tags":6026,"thumbUrl":6029,"material":355,"size":356,"collection":41,"collections":6030,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,56,57,58,36,113,61,37,35,116,7,447,6027,2488,33,6028],"塔","高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7de78491754e0443afe228850bafd56.jpg",[],{"id":6032,"slug":6033,"title":6034,"dynasty":155,"author":6035,"museum":20,"description":6036,"tags":6037,"thumbUrl":6040,"material":355,"size":356,"collection":41,"collections":6041,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,23,56,29,1826,5192,116,7,82,6038,6039],"衰草","落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0a9a7444833f2d873b38ff11d8ab76.jpg",[],{"id":6043,"slug":6044,"title":6045,"dynasty":51,"author":6046,"museum":20,"description":6047,"tags":6048,"thumbUrl":6051,"material":355,"size":356,"collection":41,"collections":6052,"showCount":5,"zanCount":201,"manualWeight":45,"mainColor":46},287943,"shan-que-shuang-tu-tu-li-yong-287943","山鹊双兔图","李鄘","李鄘（yōng）（？－820年9月14日 ），字建侯。鄂州江夏县（今湖北省武汉市武昌区）人。唐朝宰相，江夏太守李邕从孙。\n李鄘出身“江夏李氏” 。唐代宗时登进士第，补秘书省正字，擢累吏部员外郎，进御史中丞。唐宪宗时，由河东节度使被召拜为门下侍郎、同平章事（宰相）。晚年以太子少傅致仕，累封江夏县开国侯。\n元和十五年（820年），李鄘去世，追赠太子太保，谥号“肃”。《唐文拾遗续拾》录有其文一篇",[78,23,27,29,6049,39,7,855,6050,30],"兔","花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0a93abe923ed1343f9eb30ea9c799f.jpg",[],{"id":6054,"slug":6055,"title":6056,"dynasty":51,"author":1944,"museum":20,"description":6057,"tags":6058,"thumbUrl":6059,"material":355,"size":356,"collection":41,"collections":6060,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":46},287799,"ren-wu-yi-wu-wei-287799","人物一","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[78,23,57,33,509,195,1827,7,368,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4c1954e8fb2a5e143379421bc0fea1.jpg",[],{"id":6062,"slug":6063,"title":6064,"dynasty":51,"author":735,"museum":20,"description":6065,"tags":6066,"thumbUrl":6067,"material":355,"size":356,"collection":41,"collections":6068,"showCount":5,"zanCount":201,"manualWeight":45,"mainColor":69},283774,"lin-he-jing-shi-yi-tu-zhou-dong-qi-chang-283774","林和靖诗意图轴","此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。",[23,194,56,57,36,61,37,7,59,38,31,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde5cabc181c1cbd8bf88ecac7a2e3fe.jpg",[],{"id":6070,"slug":6071,"title":191,"dynasty":51,"author":6072,"museum":94,"description":6073,"tags":6074,"thumbUrl":6075,"material":6076,"size":6077,"collection":41,"collections":6078,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":46},236326,"shan-shui-ce-song-xu-236326","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[23,194,57,58,97,36,59,37,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5568e8162b6b1452a973fb60a41c812.jpg","纸本 ，设色","纵31cm，横42cm",[],{"id":6080,"slug":6081,"title":6082,"dynasty":51,"author":6083,"museum":20,"description":6084,"tags":6085,"thumbUrl":6086,"material":355,"size":356,"collection":65,"collections":6087,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},235764,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-dou-ya-tu-ye-chen-chun-235764","吴门诸家寿袁方斋三绝册-斗鸭图页","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[23,24,97,57,36,35,37,38,82,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[65],{"id":6089,"slug":6090,"title":191,"dynasty":51,"author":735,"museum":94,"description":5153,"tags":6091,"thumbUrl":6092,"material":4066,"size":4067,"collection":41,"collections":6093,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},234059,"shan-shui-ce-dong-qi-chang-234059",[194,23,24,97,29,57,58,36,61,37,38,7,116,59,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":6095,"slug":6096,"title":6097,"dynasty":51,"author":6098,"museum":94,"description":6099,"tags":6100,"thumbUrl":6101,"material":6102,"size":6103,"collection":41,"collections":6104,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","崔子忠","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[23,24,530,29,27,33,7,59,235,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","金笺，设色","纵20.8厘米，横60.2厘米",[],{"id":6106,"slug":6107,"title":6108,"dynasty":51,"author":6109,"museum":20,"description":6110,"tags":6111,"thumbUrl":6113,"material":41,"size":41,"collection":41,"collections":6114,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},233704,"shan-ju-le-shi-ce-lu-zhi-233704","山居乐事册","陆治","陆治五十岁左右隐居支硎山之后，读书作画， 用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[23,24,97,29,33,7,82,6112,410,1317,235,4970],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],{"id":6116,"slug":6117,"title":6118,"dynasty":155,"author":6119,"museum":20,"description":6120,"tags":6121,"thumbUrl":6122,"material":344,"size":6123,"collection":41,"collections":6124,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","梅花图轴","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[78,23,24,56,57,638,7,32,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg","56.4x104cm",[],{"id":6126,"slug":6127,"title":6128,"dynasty":109,"author":765,"museum":20,"description":6129,"tags":6130,"thumbUrl":6131,"material":41,"size":41,"collection":41,"collections":6132,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,194,23,24,97,29,294,58,36,35,113,116,7,37,114,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":6134,"slug":6135,"title":6136,"dynasty":51,"author":74,"museum":6137,"description":6138,"tags":6139,"thumbUrl":6140,"material":197,"size":6141,"collection":65,"collections":6142,"showCount":5,"zanCount":45,"manualWeight":45,"mainColor":89},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","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。",[78,23,24,25,26,58,29,31,32,30,36,117,59,61,37,38,39,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 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横38.3厘米",[],{"id":6320,"slug":6321,"title":6322,"dynasty":155,"author":1726,"museum":232,"description":6323,"tags":6324,"thumbUrl":6325,"material":344,"size":6326,"collection":41,"collections":6327,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":69},231488,"xi-shan-xian-guan-tu-wang-jian-231488","溪山仙馆图","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[78,23,24,56,29,58,36,61,37,7,113,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg","78×39cm",[],{"id":6329,"slug":6330,"title":6331,"dynasty":109,"author":6332,"museum":20,"description":6333,"tags":6334,"thumbUrl":6335,"material":41,"size":41,"collection":41,"collections":6336,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,194,23,24,56,29,27,33,509,114,116,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":6338,"slug":6339,"title":6340,"dynasty":205,"author":2552,"museum":20,"description":6341,"tags":6342,"thumbUrl":6344,"material":41,"size":41,"collection":41,"collections":6345,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":46},230900,"song-yin-ju-yin-tu-zhou-tang-di-230900","松荫聚饮图轴","《松阴聚饮图》是元代画家 创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[194,23,24,56,29,58,36,7,2622,33,6343],"聚饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",[],{"id":6347,"slug":6348,"title":6349,"dynasty":205,"author":6350,"museum":20,"description":6351,"tags":6352,"thumbUrl":6353,"material":41,"size":41,"collection":41,"collections":6354,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":46},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","清泉乔木图立轴","李士行","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[78,194,23,24,56,3965,57,29,58,7,79,59,37,3709,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":6356,"slug":6357,"title":6358,"dynasty":155,"author":1114,"museum":20,"description":6359,"tags":6360,"thumbUrl":6361,"material":41,"size":41,"collection":41,"collections":6362,"showCount":6235,"zanCount":250,"manualWeight":45,"mainColor":69},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[78,23,24,56,57,58,36,171,447,37,61,7,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":6364,"slug":6365,"title":6366,"dynasty":51,"author":841,"museum":94,"description":6367,"tags":6368,"thumbUrl":6369,"material":211,"size":6370,"collection":101,"collections":6371,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":69},219627,"feng-mu-tu-tang-yin-219627","风木图","画面中央，唐寅以水墨画出两株枯木，依稀可见随风摇曳之姿。树间一人身靠蒲墩，以袖掩面，似是触景伤情，悲痛不已。笔法纯熟，人物简练，却余韵无穷。古人云，画为心声，唐寅年轻时亦遭遇丧乱，风木之思自然流露笔端。\n此幅构图简洁，寥寥数笔，便迅速将读者带入画中人的内心世界，产生情感的共鸣，陷入悲伤苍凉的氛围之中。诗、书、画、印结合巧妙，图文并茂，以景传情，展现出文人画的悲怆之美。在众多描绘秋景的绘画中独树一帜，实乃不朽佳作。",[78,23,24,25,57,29,172,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0b76420cef1b27b31d3d541920360f.jpg","纵108cm，横28.5cm",[101],{"id":6373,"slug":6374,"title":6375,"dynasty":51,"author":306,"museum":94,"description":6376,"tags":6377,"thumbUrl":6379,"material":146,"size":41,"collection":135,"collections":6380,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":46},219294,"mu-niu-du-shu-tu-yi-ming-219294","牧牛读书图","柳丝如缕，垂落于苍劲的老干间，墨色线条似有若无，牵起几分空濛诗意。牧人身着宽袍，缓步随牛而行，衣袂在微风中轻摆，简淡笔触勾勒出闲适姿态。牛儿低首，肌理以淡墨晕染，温顺得似与主人心意相通。田埂草色稀疏，却衬得天地愈发宁静。画面无喧嚣，只有自然与人物的和谐相融——是牧歌里的悠然，还是文人笔下的田园逸趣？淡墨浅染间，时光仿佛慢了下来，每处线条都藏着对尘世之外的向往，让观者沉下心，品味这片刻清宁。",[78,23,24,56,57,29,33,1169,1827,7,82,914,6378],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6eb5b132178a7cac92aa8154cb10fdd.jpg",[135],{"id":6382,"slug":6383,"title":6384,"dynasty":51,"author":206,"museum":53,"description":6385,"tags":6386,"thumbUrl":6387,"material":57,"size":212,"collection":65,"collections":6388,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[23,24,57,97,58,36,59,117,7,37,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86004cc62cb48c9f04a95ff719be5e31.jpg",[65],{"id":6390,"slug":6391,"title":6392,"dynasty":109,"author":647,"museum":232,"description":648,"tags":6393,"thumbUrl":6394,"material":370,"size":41,"collection":41,"collections":6395,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":46},218085,"luo-han-tu-ce-3-li-gong-lin-218085","罗汉图册-3",[78,23,24,97,28,57,650,33,7,116,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c47d81aa18fa9c5185bb0398eef3e7.jpg",[],{"id":6397,"slug":6398,"title":6399,"dynasty":155,"author":1030,"museum":232,"description":6400,"tags":6401,"thumbUrl":6402,"material":270,"size":6403,"collection":41,"collections":6404,"showCount":6235,"zanCount":45,"manualWeight":45,"mainColor":69},216327,"jin-nong-ba-kai-hua-niao-tu-7-jin-nong-216327","金农八开花鸟图-7","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[23,24,194,97,57,321,7,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15d974850009d2f1c163bcd9891bfa7.jpg","30.5x40.9cm",[],{"id":6406,"slug":6407,"title":6408,"dynasty":109,"author":527,"museum":20,"description":4320,"tags":6409,"thumbUrl":6411,"material":355,"size":356,"collection":41,"collections":6412,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},290485,"han-jiang-diao-xue-tu-fan-kuan-290485","寒江钓雪图",[23,530,57,58,36,282,628,35,7,6410,2635],"渔钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940c5adbd17c34e372b298c7f48423e2.jpg",[],{"id":6414,"slug":6415,"title":6416,"dynasty":155,"author":6417,"museum":20,"description":6418,"tags":6419,"thumbUrl":6420,"material":355,"size":356,"collection":41,"collections":6421,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},290389,"shan-shui-shan-mian-lu-hui-290389","山水扇面","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[78,23,530,36,29,33,7,37,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d9e31c39452304284af93bb662dd.jpg",[],{"id":6423,"slug":6424,"title":4480,"dynasty":109,"author":265,"museum":20,"description":1062,"tags":6425,"thumbUrl":6426,"material":355,"size":356,"collection":41,"collections":6427,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":46},289990,"shan-shui-tu-ye-xia-gui-289990",[78,194,23,530,57,36,7,58,2635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca8ec620d14fc0e687f98471d94603b.jpg",[],{"id":6429,"slug":6430,"title":6431,"dynasty":2075,"author":306,"museum":53,"description":6432,"tags":6433,"thumbUrl":6435,"material":355,"size":356,"collection":41,"collections":6436,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":46},289765,"chun-jiao-you-qi-tu-yi-ming-289765","春郊游骑图","画面右侧古木虬劲抽芽，新叶轻缀枝梢，左侧巉岩错落，浅淡春意在古旧绢色里晕开。几位游骑穿行郊野，或缓辔徐行，或纵马轻驰，衣袂随春风轻扬，人马姿态舒展安然，不见鞍马劳顿，尽是春日郊游的闲逸兴味。\n画作线条清劲简练，设色浅淡柔和，将踏青的从容雅致烘托尽致，古雅底色晕染出沉静古意，把郊野疏朗春景与游赏的悠然意趣相融，尽显雅致松弛的唐风况味。",[78,23,29,33,509,36,7,39,6434,27],"郊游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d48213d8d56329e91d86926c79c0722.jpg",[],{"id":6438,"slug":6439,"title":6440,"dynasty":109,"author":6441,"museum":20,"description":6442,"tags":6443,"thumbUrl":6444,"material":355,"size":356,"collection":41,"collections":6445,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,530,194,29,295,36,37,35,7,116,59,81,2321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea5b5b3799c530a3f1beae07f786f7d.jpg",[],{"id":6447,"slug":6448,"title":6449,"dynasty":51,"author":4430,"museum":20,"description":6450,"tags":6451,"thumbUrl":6452,"material":355,"size":356,"collection":41,"collections":6453,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},287724,"wei-xiang-yuan-bian-zuo-shan-shui-tu-wen-jia-287724","为项元汴作山水图","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,194,24,56,57,29,36,33,7,37,82,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0343ce1632acf2dd3416832617f4359.jpg",[],{"id":6455,"slug":6456,"title":6457,"dynasty":155,"author":6458,"museum":20,"description":6459,"tags":6460,"thumbUrl":6461,"material":41,"size":41,"collection":65,"collections":6462,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},238097,"hong-wu-shan-shui-ce-hong-wu-238097","弘旿山水册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[23,24,97,57,58,36,7,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc717244aa971e7b3f826512d59005905.jpg",[65,102],{"id":6464,"slug":6465,"title":6466,"dynasty":51,"author":3778,"museum":168,"description":6467,"tags":6468,"thumbUrl":6469,"material":4568,"size":6470,"collection":41,"collections":6471,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},237442,"hua-hui-ce-xiang-sheng-mo-237442","花卉册","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[23,97,29,32,30,7,412,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17741ed89c251e1b5a5cb8ee1b6c2eac.jpg","31 X 23 CM X 10",[],{"id":6473,"slug":6474,"title":6475,"dynasty":155,"author":3329,"museum":1777,"description":6476,"tags":6477,"thumbUrl":6481,"material":1816,"size":6482,"collection":65,"collections":6483,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[23,36,57,58,56,61,59,7,117,1097,367,115,6478,6479,30,6480,481],"苔点","书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[65,123],{"id":6485,"slug":6486,"title":6487,"dynasty":51,"author":3890,"museum":94,"description":6488,"tags":6489,"thumbUrl":6491,"material":344,"size":41,"collection":101,"collections":6492,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[194,23,24,25,57,58,117,7,6490,1230,31,30],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[101,123,1695],{"id":6494,"slug":6495,"title":6496,"dynasty":155,"author":3463,"museum":20,"description":6497,"tags":6498,"thumbUrl":6499,"material":41,"size":41,"collection":41,"collections":6500,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},235136,"shuang-feng-lan-re-tu-zhou-cha-shi-biao-235136","双峰兰若图轴","此作用笔简率松秀，以干笔淡墨绘就林泉丘壑。构图兼具高远、深远之致，上部平湖远山，轻舟泛波，空寂悠然；中部危崖矗立，山居隐于幽谷林麓；下部溪桥蜿蜒，长松杂木苍润清隽。\n画风承袭倪瓒遗意，意境荒寒清旷，题诗与山水交融，将暮色归舟、倦鸟投林的幽寂禅意晕开，尽显江南山水的雅逸空灵，把遗民文人孤寂淡远的心境，寄寓于萧散淡远的林泉之间，是逸笔山水的上乘之作。",[23,24,56,57,58,36,1443,82,61,7,37,35,681,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9077b316f660c1c5318a901885a06687.jpg",[],{"id":6502,"slug":6503,"title":6504,"dynasty":205,"author":433,"museum":94,"description":6505,"tags":6506,"thumbUrl":6507,"material":545,"size":6508,"collection":41,"collections":6509,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[23,24,57,36,33,117,35,195,31,30,58,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":6511,"slug":6512,"title":129,"dynasty":109,"author":1018,"museum":53,"description":6513,"tags":6514,"thumbUrl":6515,"material":41,"size":41,"collection":41,"collections":6516,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":46},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[78,23,24,36,58,57,29,97,35,7,59,856,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":6518,"slug":6519,"title":6520,"dynasty":109,"author":306,"museum":20,"description":6521,"tags":6522,"thumbUrl":6523,"material":41,"size":41,"collection":41,"collections":6524,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,23,24,25,57,58,36,33,113,61,37,35,38,39,116,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":6526,"slug":6527,"title":6528,"dynasty":155,"author":6529,"museum":1714,"description":6530,"tags":6531,"thumbUrl":6533,"material":370,"size":6534,"collection":41,"collections":6535,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":46},223056,"hong-lou-meng-181-sun-wen-223056","红楼梦181","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[78,23,25,27,29,33,113,7,2967,395,6532],"红楼梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef394a9ae673d392e30b9491745cd60.jpg","纵43.3厘米、横76.5厘米",[],{"id":6537,"slug":6538,"title":6539,"dynasty":51,"author":6098,"museum":53,"description":6540,"tags":6541,"thumbUrl":6542,"material":63,"size":6543,"collection":41,"collections":6544,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":46},222079,"hua-su-shi-liu-dai-tu-zhou-cui-zi-zhong-222079","画苏轼留带图轴","崔子忠（？-1644），字道母，是明末著名的“变形主义”画家，画中如梅枝树石等方折的造型，即为其特色。此作描绘的是苏轼与金山寺僧佛印说偈，输了腰上玉带的故事。画中苏东坡手上所持的蓝色带状物，或许就是崔子忠想象中的玉\n第三次南巡时，乾隆皇帝想起藏在御书房中的崔子忠《画苏轼留带图》，命人快递至江南欣赏留跋。从此之后，崔子忠此轴也成了南巡行李箱中的常备成员，每每于金山寺中与苏轼玉带一同欣赏展玩。",[78,23,24,56,29,27,33,7,59,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2038d1e050db9cc5392e7d0aa0a73114.jpg","79.4 x 50 cm",[],{"id":6546,"slug":6547,"title":129,"dynasty":51,"author":3903,"museum":736,"description":6548,"tags":6549,"thumbUrl":6550,"material":6551,"size":6552,"collection":41,"collections":6553,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":41},220662,"shan-shui-tu-li-liu-fang-220662","李流芳，初字茂宰，后字长蘅，号檀园、香海、六浮道人、慎娱居士，祖籍安徽歙县丰南，侨居上海嘉定。万历三十四年（1606）举乡试，后五次会试皆不第。至天启二年（1622）第六次北上应试，闻金兵攻陷广宁，又感时局昏暗，遂绝意仕途南归，以书画自娱。诗文方面，与唐时升、程嘉璲（1565-1643）、娄坚（1567-1631）合称「嘉定四先生」。绘画上又与董其昌（1555-1636）、王时敏（1592-1680）同誉「画中九友」。\n\n此卷山水绘于绢上，画坡石虚亭高树，河水远山，一片宁寂。虽是草草而就，却显现元代大师黄公望（1269-1354）、倪瓒（1301-1374）笔意，且墨色苍润、笔法峻爽简洁，当是晚年之作。画上作者自识：「欲晴不晴山翠浓，欲雨不雨林霏重，幽人不来谁领此，溪潮急处晚来风。」更见寄情山川之意。此卷曾为晚明大收藏家朱之赤（17世纪）收藏，后面有清初著名鉴藏家高士奇（1645-1703）跋，至近代为广州小画舫斋收藏，终于1999年入藏文物馆。",[78,194,23,24,25,57,58,36,38,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5a525f194403dc4909e63b6409e00.jpg","水墨,绢本,手卷","画心：32×205.2厘米 徒步：32×31厘米 含装裱：32.7×819.5厘米",[],{"id":6555,"slug":6556,"title":6557,"dynasty":109,"author":306,"museum":157,"description":6558,"tags":6559,"thumbUrl":6560,"material":146,"size":41,"collection":102,"collections":6561,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":46},219744,"liu-xia-shuang-niu-tu-yi-ming-219744","柳下双牛图","画中柳树下悠闲的南方水牛，一母一子，尽管母牛背向而站，但眼神紧盯着小牛，而小牛似乎正围着母牛撒欢。另一侧，农夫辛勤的在水田里劳作。",[23,530,57,29,1169,482,7,1456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd182958fae8609b7da0dda8ab0764823.jpg",[102],{"id":6563,"slug":6564,"title":1582,"dynasty":2075,"author":6565,"museum":307,"description":6566,"tags":6567,"thumbUrl":6568,"material":270,"size":41,"collection":135,"collections":6569,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":46},219563,"mu-tong-tu-dai-song-219563","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。",[23,24,57,33,1169,116,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be78322a9eb453ec712a0ab48718e7.jpg",[135],{"id":6571,"slug":6572,"title":6573,"dynasty":6574,"author":6575,"museum":157,"description":6576,"tags":6577,"thumbUrl":6578,"material":41,"size":41,"collection":65,"collections":6579,"showCount":68,"zanCount":201,"manualWeight":45,"mainColor":6580},202890,"qiu-shan-lou-ge-tu-zhou-pu-ru-202890","秋山楼阁图轴","近代","溥儒","层岩叠翠间，苍松盘曲虬劲，红叶灼灼点染秋光。楼阁隐于深林古木之下，檐角微露，添得几分幽秘。小桥横架溪上，二人凭栏缓步，似在共赏秋山胜景。山石以皴法写就，笔墨细腻中见苍劲；树木姿态万千，设色淡雅却饶有韵致。整幅画意境清寂悠远，尽显文人画的闲适意趣，仿佛能嗅到山林间的清润气息，心境也随之沉静。",[23,24,56,29,36,113,61,33,58,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f81693268efd3179dbbf4230aa22a98.jpg",[65],"b8aea1",{"id":6582,"slug":6583,"title":6584,"dynasty":155,"author":6585,"museum":157,"description":6586,"tags":6587,"thumbUrl":6588,"material":41,"size":41,"collection":65,"collections":6589,"showCount":68,"zanCount":45,"manualWeight":45,"mainColor":6590},201898,"lin-wang-meng-lin-quan-qing-ji-tu-zhou-gu-yun-201898","临王蒙林泉清集图轴","顾澐","此作临摹王蒙，笔墨深谙其法。层叠山峦以解索皴勾勒，线条如虬龙盘绕，晕染出苍劲肌理；老树虬枝横斜，松针密匝，尽显古木峥嵘。山坳间亭榭隐约，数人围坐品茗清谈，林泉雅集之闲适跃然纸上。画面虚实相济，浓淡交错，既保留原作幽深静谧之致，又融入自身对山水的体悟，文人画的雅致与清逸尽在其中，为临摹佳作。",[23,36,26,58,7,38,57,33,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca037d8d8480d96f45fd4a1bddbddb7.jpg",[65],"a39385",{"id":6592,"slug":6593,"title":6594,"dynasty":205,"author":231,"museum":53,"description":6595,"tags":6596,"thumbUrl":6598,"material":355,"size":356,"collection":41,"collections":6599,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":46},290831,"xi-shan-gao-yi-zhou-wang-meng-290831","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,56,36,58,29,38,37,7,321,2956,6597,31,30],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660a5fbcc2acc542b720d3d43b3f5381.jpg",[],19,{"id":6602,"slug":6603,"title":6604,"dynasty":205,"author":6605,"museum":20,"description":6606,"tags":6607,"thumbUrl":6609,"material":355,"size":356,"collection":41,"collections":6610,"showCount":6600,"zanCount":201,"manualWeight":45,"mainColor":46},290605,"han-yan-ji-xue-zhou-zhang-yu-290605","寒岩积雪轴","张羽","张羽（1333－1385）元末明初文人。字来仪，更字附凤，号静居，浔阳（今江西九江）人，后移居吴兴（今浙江湖州），与高启、杨基、徐贲称为“吴中四杰”，又与高启、王行、徐贲等十人，人称“北郭十才子”，亦为明初十才子之一。官至太常丞，山水宗法米氏父子，诗作笔力雄放俊逸，著有《静居集》。",[23,194,56,36,57,7,6608,3819,245,5748,30,282,37],"寒岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7eb89bedc44eae71ac18e4967f8112.jpg",[],{"id":6612,"slug":6613,"title":6614,"dynasty":155,"author":2114,"museum":20,"description":6615,"tags":6616,"thumbUrl":6617,"material":355,"size":356,"collection":41,"collections":6618,"showCount":6600,"zanCount":201,"manualWeight":45,"mainColor":69},290420,"fang-gu-shan-shui-tu-ce-luo-pin-290420","仿古山水图册","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[23,97,57,997,82,7,31,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbac009aab2e9d42f1f271d2855c77e2.jpg",[],{"id":6620,"slug":6621,"title":6622,"dynasty":109,"author":1192,"museum":20,"description":6623,"tags":6624,"thumbUrl":6625,"material":355,"size":356,"collection":41,"collections":6626,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},288518,"qiu-jiang-ming-po-tu-zhao-gou-288518","秋江瞑泊图","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。",[78,23,194,24,530,57,36,37,35,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f38a38f40d9ef6cbc5a04e3d855599e.jpg",[],{"id":6628,"slug":6629,"title":6630,"dynasty":109,"author":110,"museum":53,"description":6631,"tags":6632,"thumbUrl":6634,"material":355,"size":356,"collection":41,"collections":6635,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":46},288424,"hua-deng-shi-yan-tu-er-ma-yuan-288424","华灯侍宴图二","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。",[194,23,24,56,29,294,36,113,7,395,33,6633,31,30],"宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9842376e216c0f5d1e4424d7474811f.jpg",[],{"id":6637,"slug":6638,"title":6639,"dynasty":205,"author":1551,"museum":20,"description":6640,"tags":6641,"thumbUrl":6643,"material":355,"size":356,"collection":41,"collections":6644,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":46},287668,"gao-jie-ling-yun-tu-wu-zhen-287668","高节凌云图","画中的墨竹、松树以及斜入的石坡都好像是巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇坚守高尚的情怀与志向高远个性的自喻。就像这幅画的名字一样，“高节凌云”。",[23,194,56,57,424,82,7,6642],"高节","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9990f883da641f02afee77dd20315c3.jpg",[],{"id":6646,"slug":6647,"title":6648,"dynasty":51,"author":6649,"museum":20,"description":6650,"tags":6651,"thumbUrl":6652,"material":41,"size":41,"collection":41,"collections":6653,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},239460,"ming-qing-zhu-jia-ji-jin-ce-song-shi-ce-ye-wen-cong-jian-239460","明清诸家集锦册-松石册页","文从简","此作用笔松秀简远，水墨淡逸空灵。古松躯干鳞皴苍劲，虬枝旁逸斜出，松针攒簇尽显老辣风骨，暗含岁寒之姿。右侧湖石以干笔皴擦，尽显嶙峋瘦透之态。平坡之上二儒策杖徐行，衣纹简括空灵，似正共话林泉幽意。\n\n题字清隽与画面气格相融，不着浓艳，只以淡墨写尽山林雅寂。萧散简淡的文人意趣漫溢素楮，悠悠林下之风，将隐逸之士的襟怀尽显无遗。",[23,24,97,57,58,321,82,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb347d42eecba7a25384cf8bb3ae4e4a9.jpg",[],{"id":6655,"slug":6656,"title":191,"dynasty":155,"author":6657,"museum":20,"description":6658,"tags":6659,"thumbUrl":6660,"material":41,"size":41,"collection":65,"collections":6661,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":89},235174,"shan-shui-ce-ye-xin-235174","叶欣","此作用笔秀雅淡逸，以平远之法铺展景致。近岸老梅虬曲苍劲，枝桠缀着新芽，三两行人策蹇徐行，野意悠然自生。中洲淡渚萦回错落，林木参差间，茅舍隐于浅滩，尽显江乡闲寂之态。远景主山以干笔皴擦，墨色清润苍厚，云气吞吐于崖岫，虚灵空濛。\n全幅简淡萧疏，以水墨晕染出江南春日清和之态，未作繁复刻画，却将平林远岫的空阔淡荡铺陈尽致，将文人寄情丘壑的幽怀融于尺幅，淡而弥远，清而有味，尽显静穆淡远的山水逸趣。",[23,57,58,97,36,59,117,61,37,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c5744de3032ee5211824bd4b4ccd05.jpg",[65],{"id":6663,"slug":6664,"title":6665,"dynasty":155,"author":755,"museum":94,"description":6666,"tags":6667,"thumbUrl":6668,"material":6076,"size":6669,"collection":41,"collections":6670,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},235001,"yuan-ji-shan-shui-tu-ce-shi-tao-235001","原济山水图册","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。",[194,23,57,58,97,36,82,7,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a9ea9a82d8c25e4dde2472c9cda449.jpg","纵33.2cm，横22.8cm",[],{"id":6672,"slug":6673,"title":6674,"dynasty":109,"author":585,"museum":94,"description":6675,"tags":6676,"thumbUrl":6677,"material":370,"size":6678,"collection":41,"collections":6679,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":46},233214,"liu-yin-mu-niu-tu-ye-li-tang-233214","柳荫牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的。\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。\n《东图玄览》记：“李唐《春牧图》，牛欲前行，童子力挽之，势甚奇。”吴其贞《书画记》载：“李唐《风归牛图》……有一牛乘风而奔，气韵如真，为神晶。”又记：“李唐《牧牛图》绢画一幅，树下有水，牛欲右行，而牧童欲牵左转，两下努力相持，使观者亦自费力。”以上记载，亦可略见李唐画牛成就之一斑了。李唐画的牛今日已不多见了。《乳牛图》一直传为李唐之作，在传世的宋人画牛图中，似此图者不少，然如此图之精彩者却不多。现存画迹中，南宋的画牛图还不算太少，大抵皆受李唐的影响。\n李唐(约1066一约1150)字晞古，河南人，乃南宋画院“四大家”之一，宋徽宗时就已是画院待诏。后因战乱被俘，遂又潜逃南渡，历尽颠沛流离之苦，一度落泊于南宋都城临安，靠卖画度日。后被高宗赵构重用，仍任朝廷画院旧职。李唐的山水、人物、走兽皆精，而山水最佳，创大斧劈皴法，所作长图大幛，气势宏伟，独步南宋画坛。晚年代表作有《清溪渔隐图》等留世。其人物画富李公麟遗韵，却性格刻画突显，且多绘文人高士形象，如《七贤过关图》、《采薇图》等。史传他极擅画牛，但存世作品真伪难辨。",[23,24,97,57,29,58,1456,1169,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9caed9a29913ebe1ad5d983892d9d17.jpg","61X63cm",[],{"id":6681,"slug":6682,"title":6683,"dynasty":51,"author":1602,"museum":94,"description":6684,"tags":6685,"thumbUrl":6686,"material":344,"size":6687,"collection":41,"collections":6688,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},232959,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232959","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,97,57,36,7,82,58,32,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0d0f5d6235a84082f5f7e653cc6acb.jpg","28.5×15.8厘米",[],{"id":6690,"slug":6691,"title":6692,"dynasty":51,"author":74,"museum":1714,"description":6693,"tags":6694,"thumbUrl":6695,"material":119,"size":6696,"collection":41,"collections":6697,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},232642,"shan-shui-gu-mu-tu-lan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语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[23,57,58,56,24,36,2899,7,321,59,235,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":6699,"slug":6700,"title":6701,"dynasty":155,"author":406,"museum":53,"description":6702,"tags":6703,"thumbUrl":6704,"material":1319,"size":6705,"collection":41,"collections":6706,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":46},231370,"bai-ying-tu-lang-shi-ning-231370","白鹰图","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[23,24,56,27,29,39,482,36,7,37,82,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":6708,"slug":6709,"title":6710,"dynasty":155,"author":3463,"museum":20,"description":6711,"tags":6712,"thumbUrl":6713,"material":41,"size":41,"collection":41,"collections":6714,"showCount":6600,"zanCount":201,"manualWeight":45,"mainColor":69},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[78,23,24,56,57,58,36,35,39,7,37,82,81,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":6716,"slug":6717,"title":6718,"dynasty":155,"author":377,"museum":20,"description":6719,"tags":6720,"thumbUrl":6721,"material":41,"size":41,"collection":41,"collections":6722,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},230281,"hua-niao-ce-zhu-da-230281","花鸟册","《题花鸟册》是清代诗人八大山人创作的一首五言绝句。\n诗人说：想想误我害我的乃是自己的书法，现在只能靠这书法来混饭吃了。\n这是诗人对自己的书法较之于所画的石头而言。\n诗人言外之意是在说自己的石头画得好，故用米南宫的石头作一比。\n这张《石头》，就算那些要买我书法的人，对我有三顾之请，我也是不愿意给他的。\n思之误是书（1），只今南郭处（2）。\n南宫石头硬（），三顾那得去（4）。\n（1）思：想。\n误：耽误，害。\n（2）只今：如今、现在。\n南郭：复姓。\n《 ·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 ）”之一，他以大笔水墨写意画著称，尤以花鸟画见长，以简略见胜。",[23,24,57,36,79,82,7,481,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd06328a99007e276effefc6b4d8683.jpg",[],{"id":6724,"slug":6725,"title":1017,"dynasty":109,"author":1018,"museum":53,"description":6726,"tags":6727,"thumbUrl":6728,"material":41,"size":41,"collection":41,"collections":6729,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,23,24,25,997,57,58,36,117,235,1021,7,116,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":6731,"slug":6732,"title":6733,"dynasty":155,"author":755,"museum":20,"description":6734,"tags":6735,"thumbUrl":6736,"material":41,"size":41,"collection":41,"collections":6737,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},224499,"shan-shui-ce-kai-san-shi-tao-224499","山水冊开(三)","石涛（1642—177）名原济，号大涤子、清湘老人、苦瓜和尚、济山僧、瞎尊者等。\n石涛原名朱若极，明代藩靖江王后裔，父朱享嘉于南明隆武时在广西自称“监国”，遭俘杀。\n石涛便隐匿起来，后出家为僧。\n石涛曾游历过许多名山大川，有“搜尽奇峰打草稿”、“笔墨当随时代”名言。\n石涛晚年寓居扬州，卖画为业。\n这里介绍的石涛山水，是藏于故宫博物院、以唐代王维、李白、张说等人诗意创作的八开册页中的一页。\n每开册页纵2.厘米，横16.5厘米，纸本，水墨淡设色。\n石涛擅山水、花卉，师宋、元诸家，参以造化，自创一格，笔墨清新多变、天真烂漫，对后世影响极大。\n石涛与石溪并称“二石”，再加朱耷、弘仁，便称“清初四画僧”。\n石涛存世作品尚多，著述则有《苦瓜和尚画语录》、《 》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[78,23,57,29,58,97,36,35,7,80,59,117,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":6739,"slug":6740,"title":6741,"dynasty":51,"author":735,"museum":736,"description":6742,"tags":6743,"thumbUrl":6744,"material":97,"size":740,"collection":41,"collections":6745,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":41},220752,"fang-ge-jia-shan-shui-4-dong-qi-chang-220752","仿各家山水-4","此作用笔松秀空灵，以干笔淡墨铺展秋山幽居之境。近坡枯木疏林姿态萧散，村居隐于林木间，坡岸错落尽显野逸之趣。中远景山峦层叠，主峰奇崛高耸，以淡墨皴擦轻勾山石肌理，留白晕出水色烟岚的空濛悠远。\n\n全画以书入画，线条温润秀雅，不执着实景摹写，重在以笔墨传递清旷简远之意，寥寥数笔便将深秋林泉的幽寂淡远铺陈开来。以简驭繁，虚实相生间尽显文人画尚意重韵的特质，观之如临静谧山林，涤荡尘心。",[78,23,24,57,26,58,97,36,7,82,37,59,117,235,2734,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a359e05e61b220785e0e20211602f.jpg",[],{"id":6747,"slug":6748,"title":6749,"dynasty":51,"author":306,"museum":1422,"description":6750,"tags":6751,"thumbUrl":6752,"material":146,"size":6753,"collection":135,"collections":6754,"showCount":6600,"zanCount":201,"manualWeight":45,"mainColor":46},219619,"ming-ren-qiu-lin-mu-yang-tu-yi-ming-219619","明人秋林牧羊图","丹红叶色覆满古木虬枝，晕染出深秋萧疏又温煦的氛围。林下坡岸，一人踞坐拨弦，一人垂首静听，意态闲散悠然，尽显林下雅趣。坡麓双羊缓行啮草，野逸闲寂的田园意致油然而生。\n\n画作笔墨简淡秀润，设色清雅沉稳，人物意态生动传神，林木皴染细致写实，将秋日郊野的幽寂清旷与文人士子的山居闲情相融，勾勒出超脱尘俗的林下雅兴图景，尽显写意尚趣的审美意韵。",[23,29,27,33,4046,3359,7,59,925,117,1208,482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaedaedf3332b4fb0340859744f2680b.jpg","纵100.5横51.5厘米",[135],{"id":6756,"slug":6757,"title":6758,"dynasty":109,"author":306,"museum":53,"description":6759,"tags":6760,"thumbUrl":6761,"material":270,"size":6762,"collection":65,"collections":6763,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,57,58,56,36,116,7,82,37,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d10dfa682a87984e0bffc7b101e7596.jpg","136.8x99.7",[65],{"id":6765,"slug":6766,"title":6767,"dynasty":51,"author":291,"museum":53,"description":6768,"tags":6769,"thumbUrl":6770,"material":146,"size":6771,"collection":41,"collections":6772,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},218179,"chun-xiao-tu-2-chou-ying-218179","纯孝图-2","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[23,24,27,29,33,509,7,114,6490,80,32,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffeae386b6ebd4cb012fe42050fa7b4.jpg","32.8x21.9",[],{"id":6774,"slug":6775,"title":6776,"dynasty":51,"author":898,"museum":540,"description":2937,"tags":6777,"thumbUrl":6778,"material":146,"size":41,"collection":41,"collections":6779,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},218023,"za-hua-ce-7-chen-hong-shou-218023","杂画册-7",[23,24,97,29,58,36,82,7,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff84370318cab5c806b1fc9fabdb42dd.jpg",[],{"id":6781,"slug":6782,"title":6783,"dynasty":109,"author":4854,"museum":444,"description":4855,"tags":6784,"thumbUrl":6785,"material":146,"size":4858,"collection":41,"collections":6786,"showCount":6600,"zanCount":201,"manualWeight":45,"mainColor":69},216915,"xiang-shan-jiu-lao-tu-7-ma-xing-zu-216915","香山九老图-7",[78,23,24,27,29,33,36,424,7,37,855,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996c941b8274f0bb1a5f2f589e1f3156.jpg",[],{"id":6788,"slug":6789,"title":6790,"dynasty":155,"author":377,"museum":232,"description":6791,"tags":6792,"thumbUrl":6793,"material":211,"size":41,"collection":41,"collections":6794,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,23,24,97,57,58,36,116,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af34fe478e5f191bb4bc98911d7f299.jpg",[],{"id":6796,"slug":6797,"title":6798,"dynasty":6574,"author":6575,"museum":157,"description":6799,"tags":6800,"thumbUrl":6801,"material":41,"size":41,"collection":65,"collections":6802,"showCount":6600,"zanCount":45,"manualWeight":45,"mainColor":6803},202941,"cao-tang-qiu-se-tu-zhou-pu-ru-202941","草堂秋色图轴","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。",[23,36,29,61,37,116,7,58,2956,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d52f005e4953716a049c0b1b67aa09b.jpg",[65],"c1b8a4",{"id":6805,"slug":6806,"title":6807,"dynasty":155,"author":6808,"museum":157,"description":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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。",[78,23,24,56,57,58,36,7,116,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29861984f9f280d64ed489a7687eeb8e.jpg","该幅42.2x49.2公分全幅66.5公分",[],{"id":6947,"slug":6948,"title":6949,"dynasty":155,"author":6529,"museum":1714,"description":6530,"tags":6950,"thumbUrl":6956,"material":370,"size":6534,"collection":41,"collections":6957,"showCount":6822,"zanCount":45,"manualWeight":45,"mainColor":46},222901,"hong-lou-meng-26-sun-wen-222901","红楼梦26",[78,23,27,29,33,113,7,34,59,412,395,294,6951,6952,6953,6954,6955],"门窗","服饰","庭院景观","工笔人物","设色庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268b15a8847ec0e0ba84797886765ad0.jpg",[],{"id":6959,"slug":6960,"title":6961,"dynasty":155,"author":6962,"museum":53,"description":6963,"tags":6964,"thumbUrl":6966,"material":6967,"size":6968,"collection":41,"collections":6969,"showCount":6822,"zanCount":45,"manualWeight":45,"mainColor":69},222861,"hua-shi-ba-xue-shi-tu-juan-sun-hu-222861","画十八学士图卷","孙祜","孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。\n周鲲字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。\n丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[23,24,25,29,27,32,30,7,117,6965,914],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070705f270ed15cd0e1471e60583dd9b.jpg","設色,青綠,描金","39×1138.2",[],{"id":6971,"slug":6972,"title":6973,"dynasty":205,"author":6974,"museum":540,"description":6975,"tags":6976,"thumbUrl":6977,"material":545,"size":6978,"collection":65,"collections":6979,"showCount":6822,"zanCount":45,"manualWeight":45,"mainColor":46},221864,"gu-hu-heng-jiang-tu-zhao-yong-221864","孤隺横江图","赵雍","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，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。",[78,23,57,29,530,58,36,35,7,33,1532,235,855,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa61b15cb42e538616214b20fadc245b.jpg","26x25cm",[65,102],{"id":6981,"slug":6982,"title":129,"dynasty":155,"author":4735,"museum":232,"description":6983,"tags":6984,"thumbUrl":6985,"material":270,"size":6986,"collection":65,"collections":6987,"showCount":6822,"zanCount":45,"manualWeight":45,"mainColor":46},220066,"shan-shui-tu-zha-shi-biao-220066","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。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”。",[23,24,56,57,58,36,61,37,38,39,117,855,2622,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[65],{"id":6989,"slug":6990,"title":1582,"dynasty":109,"author":306,"museum":307,"description":6991,"tags":6992,"thumbUrl":6993,"material":370,"size":41,"collection":135,"collections":6994,"showCount":6822,"zanCount":45,"manualWeight":45,"mainColor":46},219056,"mu-tong-tu-yi-ming-219056","苍润绢本晕开宋时的清寂。老松如盖，虬枝盘结，墨色沉郁间藏着笔底苍劲；坡地之上，牧童斜倚牛背，似梦似醒，牛儿低首啃青，憨态可掬。寥寥数笔，便将乡野的自在勾勒得淋漓尽致。远处云气轻笼，山峦隐现，留白处尽是悠远意韵。没有繁复铺陈，极简构图里，田园的静谧与生命的松弛揉进每寸笔墨。风过松梢的轻响，牧童鼻息的绵长，仿佛都藏在这墨色深浅间——宋画的烟火与诗意，原是这般不着痕迹，却动人心弦。",[78,23,194,530,57,36,33,1169,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b347b3f67fc81eebd171ee0cbca07b.jpg",[135],{"id":6996,"slug":6997,"title":129,"dynasty":109,"author":306,"museum":53,"description":6998,"tags":6999,"thumbUrl":7000,"material":146,"size":41,"collection":65,"collections":7001,"showCount":6822,"zanCount":201,"manualWeight":45,"mainColor":69},218693,"shan-shui-tu-yi-ming-218693","烟波浩渺间，一叶扁舟轻泛，舟中人影依稀，似与水色相融。右侧松枝虬曲，墨色浓淡交错，松针如丝倚石而立；山石皴法简练，与浅草相映，添了几分野趣。远山如黛，晕染在淡雾里，似天地间的留白，引视野向无尽悠远。\n\n整幅画以淡墨铺陈，虚实相生：静穆中藏灵动——水面微澜、松枝轻颤，皆在笔墨间流转。不刻意渲染，却于简约中见深远，静谧中显生机。仿佛能听见风声掠松梢，见水波拍舟舷，沉湎于自然与心灵的契合，尽得宋人山水中的诗意栖居之趣。",[78,23,194,57,29,36,58,35,195,7,235,209,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd413e20f9a81db648f7fa8472822843b.jpg",[65],{"id":7003,"slug":7004,"title":7005,"dynasty":155,"author":1114,"museum":307,"description":7006,"tags":7007,"thumbUrl":7009,"material":63,"size":7010,"collection":41,"collections":7011,"showCount":6822,"zanCount":45,"manualWeight":45,"mainColor":69},217207,"fang-gu-shan-shui-shi-er-kai-shi-yi-wang-hui-217207","仿古山水十二开(十一)","此册王翚仿古十二开",[23,57,1117,58,97,297,35,7,38,117,7008,59,209],"草坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611e13e5922eacde75f3651ef7421915.jpg","25x35.4cm",[],{"id":7013,"slug":7014,"title":129,"dynasty":155,"author":306,"museum":444,"description":7015,"tags":7016,"thumbUrl":7017,"material":146,"size":7018,"collection":65,"collections":7019,"showCount":6822,"zanCount":45,"manualWeight":45,"mainColor":46},215146,"shan-shui-tu-yi-ming-215146","佚名是一个指代不确定的人的称呼，所以无法提供具体的信息。但是，清朝时期的山水图是一种流行的艺术形式，在当时是非常受欢迎的。山水图通常是一种静态的描绘自然景观的图画，其中包含了山峰、河流、树木、云彩和其他自然元素。山水图通常以水墨画的形式呈现，但也有其他艺术形式，如铜版画、绢本画和纸本画。山水图的主要目的是表现自然的美丽，并通过艺术的手段来传达观赏者的情感和思想。",[23,24,36,57,29,35,7,245,58],"https:\u002F\u002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评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[23,24,56,57,58,36,424,7,913,80,703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[65],{"id":7080,"slug":7081,"title":191,"dynasty":51,"author":7082,"museum":20,"description":7083,"tags":7084,"thumbUrl":7085,"material":41,"size":41,"collection":65,"collections":7086,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":69},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[23,24,97,57,29,36,38,7,61,37,82,235,117,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[65],{"id":7088,"slug":7089,"title":7090,"dynasty":51,"author":306,"museum":20,"description":7091,"tags":7092,"thumbUrl":7093,"material":41,"size":41,"collection":41,"collections":7094,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":46},235680,"chen-lu-yu-tu-zheng-qing-tu-zhou-yi-ming-235680","陈录玉兔争清图轴","此作用淡墨晕染明月，清辉遍洒，老梅盘虬苍劲，主干皴擦见古拙质感，枝桠舒展斜逸，层层向上铺展。枝头繁花密缀，以浓淡墨色勾点花瓣，如星子攒聚，尽显寒梅莹洁灵动。\n\n梅枝挺秀清癯，凌然风骨暗藏其中，月色与梅影相映成趣，空寂清隽的冬夜幽境跃然绢上。笔意简淡苍润，将梅的孤高与月的空净相融，晕染出冬夜梅月争清的幽绝景致，尽显清雅出尘的文人意趣，寥寥笔墨写尽寒梅傲雪品格，意境清寂淡远。",[23,24,56,57,29,638,297,7,1230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F001113171e468916c1f3343f48898518.jpg",[],{"id":7096,"slug":7097,"title":7098,"dynasty":155,"author":7099,"museum":20,"description":7100,"tags":7101,"thumbUrl":7103,"material":41,"size":41,"collection":41,"collections":7104,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":69},234694,"shi-nv-dan-ye-hu-xi-gui-234694","仕女单页","胡锡珪","胡锡珪（1839-1883）初名文，字三桥，号盘溪外史、红茵生、红茵馆主，室名盘溪小筑、红茵馆。江苏苏州人。布衣，长居吴下。幼习丹青，夙根早慧，涉笔便有韵致。及长，便学诸家之法，于 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、顾西津切磋吴门，诗画唱酬，堪称一时风雅。",[23,24,29,27,57,33,34,7102,321,7,82],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332b332c4460e4b0b5a1cfad5585ece8.jpg",[],{"id":7106,"slug":7107,"title":191,"dynasty":51,"author":735,"museum":94,"description":5153,"tags":7108,"thumbUrl":7109,"material":4066,"size":4067,"collection":41,"collections":7110,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":69},234057,"shan-shui-ce-dong-qi-chang-234057",[23,57,58,97,481,36,235,7,59,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318bf462de0567dc82594086471e48bb.jpg",[],{"id":7112,"slug":7113,"title":7114,"dynasty":51,"author":3778,"museum":94,"description":7115,"tags":7116,"thumbUrl":7117,"material":84,"size":7118,"collection":41,"collections":7119,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":69},233914,"xue-ying-yu-ren-tu-zhou-xiang-sheng-mo-233914","雪影渔人图轴","图中皑皑白雪覆盖下的四株老树粗壮挺拔，叉枒错落，树叶落尽，说明时当严冬。树下水边，一渔舟泊岸，渔夫身披簔衣，头戴斗笠，持桨立船头。远处云山一抹，一望无垠。画中自题：“漫漫雪影耀江光，一棹渔人十指僵。欲泊林皋何处稳，宜随风浪酒为乡。崇祯十四年（1641）入夏大旱，忆春雪连绵，写此小景就题见志。无边居士项圣谟。”钤“项氏孔彰”、“写我心曲”等印。项圣谟时年45岁。",[23,56,57,36,81,35,7,779,1245,58,628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed770fc8b0049f5d24acfc953374461.jpg","纵74.8厘米，横30.4厘米",[],{"id":7121,"slug":7122,"title":7123,"dynasty":155,"author":2086,"museum":20,"description":7124,"tags":7125,"thumbUrl":7126,"material":41,"size":41,"collection":41,"collections":7127,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":46},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","仿古山水十二开","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[23,29,36,97,58,1117,30,33,39,1169,114,38,37,235,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":7129,"slug":7130,"title":7131,"dynasty":109,"author":306,"museum":20,"description":7132,"tags":7133,"thumbUrl":7134,"material":41,"size":41,"collection":41,"collections":7135,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":46},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[78,23,24,530,29,36,35,7,37,81,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":7137,"slug":7138,"title":7139,"dynasty":51,"author":898,"museum":232,"description":7140,"tags":7141,"thumbUrl":7145,"material":146,"size":7146,"collection":41,"collections":7147,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":69},220224,"hua-niao-cao-chong-xie-sheng-ce-gu-qiu-hua-hong-chen-hong-shou-220224","花鸟草虫写生册-古虬花红","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[78,23,24,97,27,29,380,7142,7,7143,7144,30],"草虫","虬枝","花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21091114f949d92850c06dcdca89214.jpg","21.5×16cm",[],{"id":7149,"slug":7150,"title":129,"dynasty":109,"author":306,"museum":53,"description":7151,"tags":7152,"thumbUrl":7153,"material":370,"size":41,"collection":65,"collections":7154,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":69},219645,"shan-shui-tu-yi-ming-219645","这幅小品以边角取景，古松倚崖斜出，虬枝垂曳，将视线引向空阔江面。扁舟随波缓行，艄翁独棹，烟波浩渺处远山如黛，融于濛濛暮色。\n\n笔墨清润简淡，以浅墨晕染出空蒙水色，苍劲松枝勾勒见笔力，山石皴擦简练。留白极尽空灵禅意，以少胜多，将江湖散人的幽居野逸心境藏于画中，静穆淡远，余韵悠长，尽显山水小品以小见大的雅致意趣。",[23,57,36,58,35,7,235,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c918e48838ac9ddb5a51f3f19e7e228.jpg",[65],{"id":7156,"slug":7157,"title":7158,"dynasty":155,"author":1114,"museum":232,"description":7159,"tags":7160,"thumbUrl":7162,"material":63,"size":41,"collection":41,"collections":7163,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":46},214598,"fang-gu-shan-shui-ce-6-wang-hui-214598","仿古山水册-6","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[23,24,97,57,29,36,779,35,61,79,7,59,7161,58],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804475af6895468bf0eb564fb42b92ab.jpg",[],{"id":7165,"slug":7166,"title":7167,"dynasty":6574,"author":1701,"museum":157,"description":7168,"tags":7169,"thumbUrl":7171,"material":41,"size":41,"collection":65,"collections":7172,"showCount":7045,"zanCount":45,"manualWeight":45,"mainColor":7173},202956,"feng-xi-ji-you-tu-zhou-huang-bin-hong-202956","丰溪纪游图轴","画面层峦叠嶂，林木葱郁，山间楼阁隐现，溪畔小桥卧波，尽显江南山水的灵秀幽深。笔墨以水墨为底，皴擦点染交错，线条苍劲老辣，墨色浓淡相宜，浑厚华滋中见清逸之气。树木虬曲挺拔，与山石相映成趣，营造出静谧悠远的纪游意境，仿佛可闻溪声，可观林泉，尽显传统山水画的笔墨神韵与文人情怀。",[23,36,57,58,113,61,7,59,7170,78],"笔墨","https:\u002F\u002Foss.chuangqi.sto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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[78,23,194,24,56,57,29,380,1717,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64cb9aa88aeb2a63fd59b654ad6a0d0.jpg",[],{"id":7206,"slug":7207,"title":7208,"dynasty":205,"author":575,"museum":53,"description":7209,"tags":7210,"thumbUrl":7212,"material":211,"size":7213,"collection":65,"collections":7214,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},287761,"yu-hou-kong-lin-zhou-ni-zan-287761","雨后空林轴","画中山石多用披麻、折带皴，干笔淡墨，浓墨点苔，敷色清淡温和。整个画面布局充实饱满，平稳而有变，景象开阔，意境清淡萧疏，雨霁林空之景，宛然目前。而且，倪瓒的多数作品，写景极简，而这件作品则写高大山川，景物丰富。",[194,23,24,56,57,29,36,58,7211,61,37,7,38,31,32,30],"空林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29f3553e93f9b3a86dddb9e78143330.jpg","63.5x37.6",[65],{"id":7216,"slug":7217,"title":7218,"dynasty":851,"author":7219,"museum":20,"description":7220,"tags":7221,"thumbUrl":7222,"material":355,"size":356,"collection":41,"collections":7223,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":46},287705,"yan-ai-qiu-she-zhao-gan-287705","烟霭秋涉","赵幹","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[78,23,24,997,57,58,82,7,1208,5660,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc85a4e660923125f155ac2d2314f28a.jpg",[],{"id":7225,"slug":7226,"title":191,"dynasty":155,"author":7227,"museum":20,"description":7228,"tags":7229,"thumbUrl":7230,"material":355,"size":356,"collection":65,"collections":7231,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},239341,"shan-shui-ce-lin-fu-chang-239341","林福昌","林福昌，男，字海如，吴县（今江苏苏州）人，瑞恩子。善花卉、人物，尤工写照。尝为徐熊庆绘行乐图极精。光绪三年（一八七七）作吴中七老图卷。清未尝为木刻书籍人像。",[23,24,97,57,58,36,35,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0be85109e2e631de104cbef1be524d.jpg",[65,102],{"id":7233,"slug":7234,"title":7235,"dynasty":155,"author":2730,"museum":20,"description":7236,"tags":7237,"thumbUrl":7238,"material":41,"size":41,"collection":65,"collections":7239,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},239049,"fang-lu-tai-shan-shui-zhou-qin-bing-wen-239049","仿麓台山水轴","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[23,24,56,57,29,36,58,172,913,37,681,321,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa567e23e75cf5399eb1383b55b03c067.jpg",[65],{"id":7241,"slug":7242,"title":7243,"dynasty":155,"author":7244,"museum":20,"description":7245,"tags":7246,"thumbUrl":7247,"material":41,"size":41,"collection":65,"collections":7248,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},238901,"fang-song-yuan-shan-shui-ce-dong-gao-238901","仿宋元山水册","董诰","近处水畔矶石错落，枯木疏柳掩映板桥茅舍，坡岸浅草覆绿，漫着幽居野逸的松弛意趣。山峦层叠延展，以淡墨晕染远山，空濛悠远。山石皴法兼具古意，苍秀温润，设色轻浅雅致，不施浓艳。\n全作以平远视角铺展，虚实相生，将山野间安闲静穆的山居图景缓缓铺陈。笔墨清隽秀雅，带着江南山水的温润灵秀，将文人理想中的林泉高致融于尺幅，观之如临其境，可感幽居独处的淡然意趣，尽显山水小景的意境之美。",[23,24,97,57,29,26,58,36,38,117,37,59,235,7,1317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c1e1e7fe54974f8093e8919216aa07.jpg",[65,102],{"id":7250,"slug":7251,"title":6665,"dynasty":155,"author":755,"museum":20,"description":7252,"tags":7253,"thumbUrl":7255,"material":41,"size":41,"collection":41,"collections":7256,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},237771,"yuan-ji-shan-shui-tu-ce-shi-tao-237771","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,57,29,97,58,36,35,79,37,82,30,7,5387,2733,1245,7254,481],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdf2030026657b64f84e1fb3e57e390.jpg",[],{"id":7258,"slug":7259,"title":191,"dynasty":51,"author":6072,"museum":94,"description":6073,"tags":7260,"thumbUrl":7262,"material":6076,"size":6077,"collection":41,"collections":7263,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},236328,"shan-shui-ce-song-xu-236328",[23,57,58,97,36,37,82,7,33,855,235,7261,117],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e79ad6a3590e82867bbf6b58c0e8bd1.jpg",[],{"id":7265,"slug":7266,"title":7267,"dynasty":155,"author":7268,"museum":20,"description":7269,"tags":7270,"thumbUrl":7272,"material":355,"size":356,"collection":41,"collections":7273,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},235660,"shan-shui-ping-yuan-jiang-235660","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[23,194,24,294,27,29,58,36,113,61,39,7,82,7271],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a085c5f592f1e8d1d52a233bbe9f6.jpg",[],{"id":7275,"slug":7276,"title":191,"dynasty":155,"author":7277,"museum":20,"description":7278,"tags":7279,"thumbUrl":7280,"materi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横16.0厘米",[],{"id":7306,"slug":7307,"title":7308,"dynasty":51,"author":7309,"museum":20,"description":7310,"tags":7311,"thumbUrl":7312,"material":41,"size":41,"collection":41,"collections":7313,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[78,23,24,25,57,27,36,61,37,113,38,7,114,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":7315,"slug":7316,"title":7317,"dynasty":51,"author":898,"museum":94,"description":7318,"tags":7319,"thumbUrl":7320,"material":6102,"size":7321,"collection":41,"collections":7322,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[530,23,24,57,58,36,35,79,59,37,33,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","纵16.3厘米，横51.8厘米",[],{"id":7324,"slug":7325,"title":1812,"dynasty":205,"author":433,"museum":94,"description":7326,"tags":7327,"thumbUrl":7328,"material":1816,"size":1817,"collection":41,"collections":7329,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":46},233952,"song-shi-tu-zhou-sheng-mao-233952","此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,57,56,58,2622,1643,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5472fa97ec25a324a41e344a125846.jpg",[],{"id":7331,"slug":7332,"title":5057,"dynasty":155,"author":755,"museum":94,"description":5058,"tags":7333,"thumbUrl":7334,"material":5061,"size":5062,"collection":41,"collections":7335,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},233417,"yuan-ji-shan-shui-ce-shi-tao-233417",[23,57,97,58,36,82,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbc7f6586f3953ae969d45c5a8d59a6.jpg",[],{"id":7337,"slug":7338,"title":7339,"dynasty":155,"author":3463,"museum":232,"description":7340,"tags":7341,"thumbUrl":7342,"material":344,"size":7343,"collection":41,"collections":7344,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":46},232687,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-232687","仿倪云林古木图","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”。",[78,23,57,26,36,116,7,82,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd8c4275900bc0d3ef08012f2755498.jpg","110×50厘米",[],{"id":7346,"slug":7347,"title":7348,"dynasty":155,"author":1114,"museum":232,"description":7349,"tags":7350,"thumbUrl":7351,"material":344,"size":7352,"collection":41,"collections":7353,"showCount":7195,"zanCount":201,"manualWeight":45,"mainColor":69},232267,"geng-yan-shan-shui-tu-ce-wang-hui-232267","耕烟山水图册","王翚在王时敏等人的指导下进行学习和创作的生涯达二十年。他广泛学习宋元以来的各种流浓和山水画名迹。为他最终达到“集大成”打下了深厚的基础。相对于其它三王来说。王翚的家境是较贫寒的。在青年时代就做到“仿临宋元人无微不肖”因此当时有人便“倩其作装璜作伪，以愚好古者，虽老于鉴别亦不知为近人笔”〔清·周亮工《读画全录》。今天我们偶尔还能见到王翚的“作伪”的一些假，宋元古画。〕后人广泛称道王翚的画为集古之“大成”，此语原为石谷自道：“以元人笔墨。运宋人丘壑，而泽以唐人气韵，乃为大成”〔《清晖画跋》〕。而他说的另一段话中道得更为透彻：“翚自龉时搦管，仡仡穷年，为俗流派拘牵，无繇自拔……临颖茫然，识微难洞，已从师得指法，复于东南收藏好事家纵览右丞，思训，荆，董，胜国诸贤，上下千余年，名迹数二万种，然后知事理之精微，画学之博大如此，而非区区一家一派之所能尽也，由是潜神苦志，静心救之，每下笔落墨，辄思故人用心处……于是涵泳于心，练之于手，自喜不复为流派所感，而稍稍可以自信矣”（《清晖画跋》）。可见，王翚早年曾经“为世俗流派拘毫，无繇自拔”一味地广泛临摹，学习古人各种不同的的画法之然“然后知画理之精……非区区一家一派之所能尽也”。夜间他从世俗流派的不同门户偏见的羁伴中解脱出来，当然包括所谓“南北宗”山水画的区分。清盛大士说得好“耕烟贡性超俊，学习深邃，能含南北宗为一手”（《溪山卧游录》卷一），清张庚也指出：“画有南北宗，至石谷而合焉”（《国朝画征全录》）。中国的傅统山水画，其中最主要的一种审美要素便是和式化的”皴法；而所谓“南北宗”之别亦在“披麻皴”和“斧劈皴”的不同。但二者长期的对立状态却被王翚加以解化了。正如恽寿平所说“古来之笔至龃龉不能相入者，石谷则罗而置之笔端，融洽以出，神哉技手”（《瓯香馆画跋》） 。",[23,24,97,57,58,36,7,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bb574f4feb8802ab4baafc960bf456.jpg","29×29cm×10",[],{"id":7355,"slug":7356,"title":7357,"dynasty":51,"author":74,"museum":20,"description":7358,"tags":7359,"thumbUrl":7360,"material":41,"size":41,"collection":41,"collections":7361,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,24,56,57,29,36,116,7,35,37,38,26,58,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":7363,"slug":7364,"title":7365,"dynasty":109,"author":306,"museum":20,"description":7366,"tags":7367,"thumbUrl":7368,"material":41,"size":41,"collection":41,"collections":7369,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":46},227906,"qiu-shu-qu-yu-tu-yi-ming-227906","秋树鸜鹆图","此作以团扇形制铺陈秋意，浓墨绘就禽鸟，羽翼晕染层次分明，玄色翎毛光泽宛然，顶间细羽轻耸，目光锐而不厉，爪紧扣枯枝，静立间暗含灵动生机。旁侧秋树枯淡萧疏，枝叶以浅赭晕染，枯涩苍劲的枝干与浓黑禽鸟形成鲜明的色形对比。\n\n整幅笔意工细写实，将秋日林间的清寂氛围烘托尽致，于尺幅之间藏着雅致悠远的意境，尽显对自然生趣的细致体察，把禽鸟的慵懒幽闲与秋意的萧索柔和相融，是小品中的精妙之制。",[78,23,24,530,29,27,380,7,39,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcea6e0955e2524931f7f5c1713d17.jpg",[],{"id":7371,"slug":7372,"title":7373,"dynasty":109,"author":306,"museum":20,"description":7374,"tags":7375,"thumbUrl":7379,"material":41,"size":41,"collection":41,"collections":7380,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":46},227881,"tong-yin-wan-yue-tu-ye-yi-ming-227881","桐荫玩月图页","此作以工致笔触铺陈出夏夜闲游的雅景。界笔精谨绘就深宅错落屋宇，窗牖梁枋皆细致入微，尽显宅邸雅致规制。虬劲梧桐亭亭如盖，枝叶扶苏间筛下朦胧月色，晕开夏夜清宁。\n\n廊下雅客围坐把盏，清谈消暑，尽是松弛意态；阶前仕女凭栏凝睇，似浸在月色里漫思幽怀，阶下仆役垂首静立，衬出宅邸的安闲氛围。淡墨晕开暮色，草木柔润晕染，将宋人士族日常宴游的闲雅意趣藏进方寸之间，把玩月的悠然诗意刻画尽致，尽显宋人刻入日常的雅致慢调。",[78,23,194,27,29,294,33,34,113,297,7,395,7376,7377,7378],"台阶","石盆","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff31f6caa12baf6d4b5085cfd27df4b4.jpg",[],{"id":7382,"slug":7383,"title":7384,"dynasty":155,"author":1114,"museum":20,"description":7385,"tags":7386,"thumbUrl":7387,"material":41,"size":41,"collection":41,"collections":7388,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},224465,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-zhou-wang-hui-224465","倣李营丘江干七树图轴","此作用笔苍秀兼具，以枯淡之墨绘就寒林古木，虬枝如蟹爪舒张，苍松挺拔卓立，近景瀑流涓涓，旅人策蹇徐行，野意悠然。远景江水浩渺，远山以淡墨晕染，轻岚笼山，平远之境清旷空灵。\n画作师法前贤，糅合北派山水的雄浑与南宗温润雅致，将冬日江干的荒寒萧疏铺陈开来，萧寒之气与空阔江天相融，摹古却自出机杼，尽显平远山水的幽渺意境。",[78,23,24,36,56,26,58,57,59,7,321,37,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2b6e269a01d7966da987a19da3ed77.jpg",[],{"id":7390,"slug":7391,"title":4130,"dynasty":155,"author":6177,"museum":20,"description":7392,"tags":7393,"thumbUrl":7394,"material":344,"size":7395,"collection":101,"collections":7396,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":69},222828,"shan-shui-tu-ce-zhang-feng-222828","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》",[78,23,57,36,116,7,33,97,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f9aa7a8475d5b551675e8164c13572c.jpg","15.4x22.9厘米",[101],{"id":7398,"slug":7399,"title":7400,"dynasty":51,"author":7401,"museum":540,"description":7402,"tags":7403,"thumbUrl":7404,"material":370,"size":7405,"collection":41,"collections":7406,"showCount":7195,"zanCount":45,"manualWeight":45,"mainColor":46},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[78,23,57,29,97,25,58,36,61,37,35,7,60,113,33,30,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 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周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[78,23,33,29,7,36,7532,957],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9ce9b5b5499701d91ac08f9b00b615.jpg",[],{"id":7536,"slug":7537,"title":2505,"dynasty":109,"author":585,"museum":20,"description":1987,"tags":7538,"thumbUrl":7539,"material":355,"size":356,"collection":41,"collections":7540,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":46},289226,"mu-niu-tu-li-tang-289226",[78,23,194,530,57,1169,33,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2bdd190ae6f5953eca07721acf56ac.jpg",[],{"id":7542,"slug":7543,"title":7544,"dynasty":51,"author":74,"museum":20,"description":7545,"tags":7546,"thumbUrl":7547,"material":355,"size":356,"collection":41,"collections":7548,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},288041,"bei-yuan-shan-shui-song-shan-wen-dao-tu-li-zhou-lan-ying-288041","北苑山水松山问道图立轴","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。",[78,23,56,36,29,33,7,37,855,2622,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3fa328298498dc290bc922f3fbf306.jpg",[],{"id":7550,"slug":7551,"title":7552,"dynasty":155,"author":7553,"museum":20,"description":7554,"tags":7555,"thumbUrl":7556,"material":355,"size":356,"collection":41,"collections":7557,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},288030,"tian-ping-shan-jing-tu-wang-bing-288030","天平山景图","王炳","王炳 (1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[23,194,24,56,57,36,61,37,113,7,59,30,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":7559,"slug":7560,"title":7561,"dynasty":155,"author":7200,"museum":20,"description":7201,"tags":7562,"thumbUrl":7563,"material":355,"size":356,"collection":41,"collections":7564,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},288022,"ren-wu-shan-shui-tu-li-zhou-huang-shen-288022","人物山水图立轴",[78,23,56,57,33,36,7,82,37,2202,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e29611b387c6a662fb3dbadc9ec9a.jpg",[],{"id":7566,"slug":7567,"title":191,"dynasty":155,"author":7568,"museum":20,"description":7569,"tags":7570,"thumbUrl":7574,"material":41,"size":41,"collection":65,"collections":7575,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":46},237896,"shan-shui-ce-cheng-hui-hao-237896","程徽灏","此作以枯淡笔墨绘就秋山幽居，浅绛设色晕染出清秋山林萧疏之致。山峦以披麻皴写意铺展，笔意松脱苍劲，淡墨晕开云气，衬出山峦空濛悠远。溪岸林木错落，木叶疏朗，茅舍板桥隐逸其间，野趣悠然自生。\n\n题款与画面浑然相融，留白衬出山川空寂，将林泉高致的隐逸情怀寄于尺幅间。简笔勾勒却骨力暗藏，淡墨轻敷而意韵悠长，尽显文人山水小品的雅致风骨，于浅淡中尽显林下风流。",[23,57,58,97,36,38,7,59,117,79,7571,7572,4325,7573],"山体","小亭","皴染结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e88565ddc648d685889817fc186807.jpg",[65,123],{"id":7577,"slug":7578,"title":7579,"dynasty":155,"author":7580,"museum":20,"description":7581,"tags":7582,"thumbUrl":7585,"material":41,"size":41,"collection":101,"collections":7586,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},236937,"za-hua-ce-wang-liu-zhen-236937","杂画册","王六真","此作以枯润笔墨写就乡野闲景，枯涩笔意勾勒老树苍朴肌理，淡墨晕染出巢窝蓬松柔软，窝中雏鸟憨态静卧，旁侧几片嫩叶晕开春日生机，动静相映间满是野趣。\n画侧题字与水墨景致相融，文墨相生，将郊林间禽鸟安栖的静谧瞬间定格。全作未施浓艳设色，纯以水墨抒写自然意趣，细腻体察郊野日常的恬然况味，以极简笔触晕开悠然生机，尽显冲淡平和的文人画韵致，藏着对乡野闲趣的温柔捕捉。",[23,57,97,7,7583,7584],"树洞","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7e52c1300f995047252734b5a8301c.jpg",[101],{"id":7588,"slug":7589,"title":191,"dynasty":155,"author":1040,"museum":94,"description":7590,"tags":7591,"thumbUrl":7592,"material":384,"size":7593,"collection":41,"collections":7594,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},235026,"shan-shui-ce-wu-li-235026","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[23,24,97,57,36,35,7,37,82,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc84bebdcb3c8a0368bf20a1a97b797.jpg","23.2厘米，横28厘米",[],{"id":7596,"slug":7597,"title":7598,"dynasty":51,"author":735,"museum":20,"description":7599,"tags":7600,"thumbUrl":7601,"material":41,"size":41,"collection":41,"collections":7602,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},234979,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234979","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[23,24,194,97,57,58,36,7,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c5ad6a1d141bb7c41b6afae7119da4.jpg",[],{"id":7604,"slug":7605,"title":2152,"dynasty":155,"author":1114,"museum":20,"description":2153,"tags":7606,"thumbUrl":7607,"material":355,"size":356,"collection":41,"collections":7608,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},234957,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234957",[23,24,97,57,36,58,26,59,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61f73b655bbfc97bf1e7e8187d098a3.jpg",[],{"id":7610,"slug":7611,"title":7612,"dynasty":51,"author":7613,"museum":94,"description":7614,"tags":7615,"thumbUrl":7616,"material":41,"size":41,"collection":41,"collections":7617,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":46},234874,"la-mei-tu-zhou-lu-fu-234874","腊梅图轴","陆復","陆复，明代人，字明本，自号梅花主人，江苏吴江人。善画墨梅。",[194,23,24,56,57,638,7,380,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b50b9d5180a9af10e35af8f4df2c6a.jpg",[],{"id":7619,"slug":7620,"title":7463,"dynasty":155,"author":1030,"museum":94,"description":7621,"tags":7622,"thumbUrl":7623,"material":7624,"size":7625,"collection":41,"collections":7626,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},233400,"shan-shui-ren-wu-ce-jin-nong-233400","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[23,24,97,57,29,28,36,33,35,37,3278,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719bb0fb0ca34e2f5d64acbe64f13589.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":7628,"slug":7629,"title":7630,"dynasty":155,"author":909,"museum":94,"description":7631,"tags":7632,"thumbUrl":7637,"material":84,"size":7638,"collection":41,"collections":7639,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[23,24,56,29,57,481,380,116,7,39,1247,1230,7633,7634,7635,7636],"秋叶","墨色","色彩","斗禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52808a81b496ddbe9081578a515878f7.jpg","纵117厘米，横54.3厘米",[],{"id":7641,"slug":7642,"title":5057,"dynasty":155,"author":755,"museum":94,"description":7643,"tags":7644,"thumbUrl":7645,"material":344,"size":6669,"collection":41,"collections":7646,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},233126,"yuan-ji-shan-shui-ce-shi-tao-233126","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[194,23,24,97,57,58,36,82,7,38,33,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a307905955c7d593b96754ac05d484.jpg",[],{"id":7648,"slug":7649,"title":7650,"dynasty":51,"author":1602,"museum":94,"description":7651,"tags":7652,"thumbUrl":7653,"material":384,"size":7654,"collection":41,"collections":7655,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},233118,"lin-xi-you-shang-tu-zhou-wen-zheng-ming-233118","临溪幽赏图轴","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。",[23,24,56,57,58,36,117,116,7,37,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0989418a5c49480611f009704cb440.jpg","纵127.3厘米 横50厘米",[],{"id":7657,"slug":7658,"title":7659,"dynasty":205,"author":7660,"museum":53,"description":7661,"tags":7662,"thumbUrl":7664,"material":344,"size":7665,"collection":41,"collections":7666,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":46},232252,"qiao-mu-gao-zhai-tu-zhao-meng-xu-232252","乔木高斋图","赵孟吁","在元代文人画家笔下，画的内容仅仅只是载体了，重要的是画上寄托的情感。他们追求“逸笔草草，不求形似”，目的是抒写“胸中逸气”；追求笔墨趣味，以笔墨的形式与结构来表达绘画者自己的主观精神境界。",[23,29,27,58,7,321,33,681,7663,82,395],"石墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff809b42c21c90b2a4b015928f355643c.jpg","102.4x51.3公分",[],{"id":7668,"slug":7669,"title":7670,"dynasty":155,"author":7671,"museum":1714,"description":7672,"tags":7673,"thumbUrl":7674,"material":2656,"size":7675,"collection":41,"collections":7676,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[78,23,57,56,36,58,26,61,37,38,7,4867,447,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","110cmx55cm",[],{"id":7678,"slug":7679,"title":7680,"dynasty":205,"author":5928,"museum":20,"description":7681,"tags":7682,"thumbUrl":7683,"material":41,"size":41,"collection":41,"collections":7684,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[78,23,24,25,57,32,1856,31,58,30,36,35,38,117,59,367,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":7686,"slug":7687,"title":7688,"dynasty":109,"author":1464,"museum":20,"description":7689,"tags":7690,"thumbUrl":7691,"material":41,"size":41,"collection":41,"collections":7692,"showCount":7506,"zanCount":201,"manualWeight":45,"mainColor":69},227737,"mu-yang-tu-ye-li-song-227737","牧羊图页","本幅设色画园形，左侧款“李嵩”，对幅王玄真书黄公望句，钤“信公珍赏”、“黄氏子久”等印21方。\n\n李嵩（1166-1243年），南宋画家，钱塘人。少为木工，后为画院待诏李从训养子，随其习画。历任光宗、宁宗、理宗三朝画院待诏。擅长人物、佛像，尤长界画。",[78,543,23,24,29,27,33,4046,482,7,1827,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7449e6fb1adde8548b9b68812e0a5f09.jpg",[],{"id":7694,"slug":7695,"title":7696,"dynasty":109,"author":7697,"museum":20,"description":7698,"tags":7699,"thumbUrl":7700,"material":41,"size":41,"collection":41,"collections":7701,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,24,194,56,27,58,36,565,39,116,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37bba1188351b629f22203bd50fb89f.jpg",[],{"id":7703,"slug":7704,"title":7705,"dynasty":205,"author":306,"museum":20,"description":7706,"tags":7707,"thumbUrl":7708,"material":41,"size":41,"collection":41,"collections":7709,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":46},223613,"zhu-shi-tu-zhou-yi-ming-223613","竹石图轴","此作用笔清劲秀逸，丛竹挺立于湖石旁，辅以枯木，构图疏朗有致，尽显萧散之致。以双钩法写竹，笔线匀挺利落，竹叶交叠错落，层次分明，将修竹清峻挺拔的姿态尽数铺展，暗合君子劲节之心志。湖石以淡墨勾勒皴擦，造型朴拙古雅，寥寥笔墨便带出苍润质感。枯木枝桠简括，细叶点缀其间，枯而不槁，与丛竹相映，衬出画面幽寂出尘的林下意境。整幅简淡空灵，以简驭繁，尽显画中重意趣、尚风骨的文人特质，把寄情于物的雅志融于笔墨间。",[78,23,194,56,57,28,424,1643,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6691779204c2a0ed3400253a2cae24.jpg",[],{"id":7711,"slug":7712,"title":7713,"dynasty":109,"author":306,"museum":94,"description":7714,"tags":7715,"thumbUrl":7716,"material":545,"size":7717,"collection":41,"collections":7718,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":46},223504,"song-jian-shan-qin-tu-yi-ming-223504","松涧山禽图","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。",[78,23,24,27,29,57,58,30,36,380,7,37,39,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358748c7ccf2b7905f2e1c8e5ca0f3c9.jpg","25.3x25.3厘米",[],{"id":7720,"slug":7721,"title":7722,"dynasty":205,"author":306,"museum":700,"description":7723,"tags":7724,"thumbUrl":7726,"material":1816,"size":7727,"collection":41,"collections":7728,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":46},223401,"si-shui-tu-yi-ming-223401","四睡图","图绘丰干、寒山、拾得三位僧人与一虎酣睡之景。二人坐姿入睡，一人半躺酣睡，一虎卧于三人之中，安详寂静；远处祥云朵朵，松青柏翠，所绘树杆皆以祥云形状，显示出浓浓的禅意。",[78,23,24,56,57,27,58,31,30,33,7725,482,117,59,7,82],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90f15e151f2dd9dc88df95bfd31a45.jpg","77.8×34.3cm",[],{"id":7730,"slug":7731,"title":7732,"dynasty":109,"author":7733,"museum":53,"description":7734,"tags":7735,"thumbUrl":7738,"material":146,"size":7739,"collection":65,"collections":7740,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},218966,"qiu-shan-yan-ai-tu-lian-fu-218966","秋山烟霭图","廉孚","连福在宋朝时出生于山阴（今浙江绍兴）或山阳（今江苏淮安）。他的父亲连布是一位武术医生，住在绍兴，擅长绘画。莲的画风与他父亲的一样。这幅有框画描绘了山区的秋色，有树木和岩石，还有烟雨蒙蒙的景色。一名男子在一条山路上平静地走着，他的同伴背着一个登山背包跟在后面。这幅画具有马沙尔风格的简单构图，笔触的诗意韵律传达了一个物是人非、天人合一的世界。",[78,23,194,24,58,57,36,5481,5660,7,59,117,235,7736,7181,3709,367,448,7737],"淡设色","旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a043a6d31731e9d74857f9921bcf1c.jpg","21.4x24.7",[65],{"id":7742,"slug":7743,"title":7744,"dynasty":109,"author":4053,"museum":53,"description":7745,"tags":7746,"thumbUrl":7749,"material":146,"size":7750,"collection":65,"collections":7751,"showCount":7506,"zanCount":45,"manualWeight":45,"mainColor":69},218697,"han-pu-yu-zeng-tu-yan-su-218697","寒浦渔罾图","寒江凝碧，枯柳疏枝斜倚滩头，雪屑轻覆芦荻，晕开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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。",[23,56,57,58,36,38,7,116,37,35,59,33,1208,31,30,4670,7826],"清爽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe127da8e79914605105f333311b13207.jpg",[],14,{"id":7831,"slug":7832,"title":7833,"dynasty":205,"author":7834,"museum":20,"description":7835,"tags":7836,"thumbUrl":7837,"material":355,"size":356,"collection":41,"collections":7838,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":46},290441,"shan-shui-tu-ke-luo-ban-xie-bo-cheng-290441","山水图 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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。",[530,23,194,57,7,7853,116,997,58],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e83df6d5e7e5117629d2c3caf0c2cf6.jpg",[],{"id":7857,"slug":7858,"title":7859,"dynasty":109,"author":306,"museum":20,"description":7860,"tags":7861,"thumbUrl":7863,"material":355,"size":356,"collection":41,"collections":7864,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":46},288344,"feng-yu-la-qian-tu-yi-ming-288344","风雨拉纤图","淡墨晕染出烟雨空蒙的江天，水汽裹挟湿意漫过江岸。虬曲老树扎根滩涂，枝叶在风雨里飘摇，墨色浓淡晕开雨雾的朦胧质感。\n\n滩头纤夫躬身曳绳，身影隐在烟霭之间，江岸的冷寂荒寒里晕开细碎的人间烟火。虚虚实实的笔触，将江天浩渺的淡远与生计的艰辛相融，以方寸尺幅铺展出萧索又沉郁的意境，藏着细腻的世情体察，尽显小品画以小见大的雅致笔意，把冷寂江景与人间苦辛织进朦胧烟岚之中。",[23,530,57,7,35,36,3005,30,7862],"拉纤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2a3127e4d5c46eb9926b82d5d449dd.jpg",[],{"id":7866,"slug":7867,"title":7868,"dynasty":51,"author":898,"museum":20,"description":7869,"tags":7870,"thumbUrl":7871,"material":355,"size":356,"collection":41,"collections":7872,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":46},288239,"shan-shui-shi-yi-tu-chen-hong-shou-288239","山水诗意图","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[78,23,24,28,57,5888,33,4757,7,957,7532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc232101689df0dea0bedb27a18b48ad3.jpg",[],{"id":7874,"slug":7875,"title":7876,"dynasty":51,"author":735,"museum":20,"description":2954,"tags":7877,"thumbUrl":7878,"material":355,"size":356,"collection":41,"collections":7879,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":69},283712,"kun-shan-dao-zhong-tu-shan-ye-dong-qi-chang-283712","昆山道中图扇页",[530,23,57,36,7,38,31,30,58,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fcac3a0cb1874d19d22563b4d9bc18.jpg",[],{"id":7881,"slug":7882,"title":7883,"dynasty":155,"author":7244,"museum":20,"description":7884,"tags":7885,"thumbUrl":7887,"material":41,"size":41,"collection":41,"collections":7888,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":69},238373,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238373","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[23,27,29,97,380,5191,321,1769,7886,413,7],"红色果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf70cc574cf94cf0ce9d7e1b7baed0d.jpg",[],{"id":7890,"slug":7891,"title":7892,"dynasty":155,"author":7893,"museum":20,"description":7894,"tags":7895,"thumbUrl":7896,"material":41,"size":41,"collection":123,"collections":7897,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":46},237925,"gu-bai-han-ya-zhou-fu-shan-237925","古柏寒鸦轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[23,24,56,57,58,7,39,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98462ef39975b740790320e8961aa39.jpg",[123],{"id":7899,"slug":7900,"title":7901,"dynasty":51,"author":7902,"museum":20,"description":7903,"tags":7904,"thumbUrl":7905,"material":355,"size":356,"collection":41,"collections":7906,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":69},237827,"jiang-shan-xiu-se-shan-ye-zhang-chong-237827","江山秀色扇页","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[23,530,57,29,58,36,7,245,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324c78d855e1a91b6ac0a7079ab30afc.jpg",[],{"id":7908,"slug":7909,"title":7910,"dynasty":155,"author":7911,"museum":20,"description":7912,"tags":7913,"thumbUrl":7914,"material":355,"size":356,"collection":41,"collections":7915,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":69},236471,"shan-shui-shan-ni-tian-236471","山水扇","倪田","初名宝田，字墨畊，别署墨畊父，号墨道人、墨翁，又号璧月盦主，江苏江都人，侨上海。画人物仕女及佛像皆取景高远，线条流畅，尤善画马及走兽，能随手挥洒，不用巧笔起稿。光绪中行商到沪，爱任颐画，即参用任法。水墨巨石，设色花卉，腴润遒劲，意境清新而富野趣。1910年任上海书画研究会庶务协董，其画在海上擅胜一时。兼工山水，但不多见，卖画沪上三十年，卒年六十五。传世作品有《写吴昌硕六十六岁肖像》轴，现藏上海博物馆。",[23,24,530,295,29,58,36,61,33,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946e1b0efb5e70a174e44ce59c560e49.jpg",[],{"id":7917,"slug":7918,"title":7919,"dynasty":51,"author":3778,"museum":94,"description":7920,"tags":7921,"thumbUrl":7922,"material":41,"size":41,"collection":41,"collections":7923,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":46},235013,"wang-shi-shan-hu-gang-mo-ji-ju-tu-ce-shan-shui-ye-xiang-sheng-mo-235013","汪氏珊瑚纲摩诘句图册-山水页","项圣谟，字逸，后字孔彰，浙江嘉兴人。为明末著名书画收藏家和画家。",[23,24,97,57,58,30,36,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797c660dd7397b8fec87aa05a287cfa4.jpg",[],{"id":7925,"slug":7926,"title":7927,"dynasty":51,"author":2721,"museum":94,"description":7928,"tags":7929,"thumbUrl":7930,"material":3214,"size":7931,"collection":41,"collections":7932,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":46},233458,"shan-cun-tu-zhou-li-zai-233458","山村图轴","图绘山间村落，巨峰如障，溪流坡岸，人物舟船，房屋俨然。作品取全景式山水，构图饱满，气势宏阔，皴笔细密扎实，墨韵浑厚。山石的卷云皴法和树木的“蟹爪枝”画法来自北宋郭熙，而用笔较为粗放率意，兼具南宋马远、夏圭之意，这种融南北宋于一体的画法是李在的本色面貌。画面以雄壮的山川衬托村居生活之平和气息，颇具怡然闲适之意趣。",[23,56,36,58,57,59,79,7,113,80,235,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5bbda67d2037904f15230fec65c4a8.jpg","纵135厘米，横76厘米",[],{"id":7934,"slug":7935,"title":468,"dynasty":109,"author":306,"museum":20,"description":7936,"tags":7937,"thumbUrl":7938,"material":41,"size":41,"collection":41,"collections":7939,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[194,23,24,56,57,58,116,7,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c644df4ab44972659ce2cb160a6c132.jpg",[],{"id":7941,"slug":7942,"title":7943,"dynasty":5755,"author":306,"museum":20,"description":7944,"tags":7945,"thumbUrl":7949,"material":41,"size":41,"collection":41,"collections":7950,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":46},231697,"you-yuan-si-tiao-ping-yi-ming-231697","游园四条屏","此作以古松虬枝框景，留白衬出林下清寂悠远。仕女分作数组，情态各别：执伞侍者垂首侍立，闺中眷侣私语相和，携幼仕女缓行顾盼，执巾侍女恭谨相随。\n\n线条细劲秀逸，敷色淡雅明净，朱红白衫与黛色衣袂相映，晕染柔和自然，将仕女温婉丰腴的体态神韵尽显。整幅画作把游园的松弛闲静，融在松风云影之间，将贵族春日游园的悠然意趣铺陈开来，尽显古典仕女画的雅致情致。",[78,23,24,29,27,33,34,7,7946,7947,7948,117],"传统服饰","游园场景","古典人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127e8cff6c8c717373302cc855931e79.jpg",[],{"id":7952,"slug":7953,"title":7954,"dynasty":51,"author":1602,"museum":53,"description":7955,"tags":7956,"thumbUrl":7957,"material":344,"size":7958,"collection":41,"collections":7959,"showCount":7829,"zanCount":45,"manualWeight":45,"mainColor":69},231374,"song-xia-guan-quan-tu-wen-zheng-ming-231374","松下观泉图","本幅画高士二人，隔溪闲话，一童携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。\n白云盤滞山腰，飞泉来自重巖深处。溪谷一人临流，坐听松风，眼观飞泉。款题「文壁」，旧传文氏四十岁前名「壁」，四十岁后改「徵明」。据此名款与其画风，约为四十岁左右之作。",[23,57,58,27,56,2622,37,33,36,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c15d5fad3064f8f1718c21a27d80b1a.jpg","纵348.2cm，横104.6cm",[],{"id":7961,"slug":7962,"title":7963,"dynasty":155,"author":306,"museum":20,"description":7964,"tags":7965,"thumbUrl":7966,"material":41,"size":41,"collection":101,"collections":7967,"showCount":7829,"zanCount":201,"manualWeight":45,"mainColor":69},230331,"qing-shi-quan-tu-ce-shi-kai-yi-ming-230331","清十犬图册-十开","《十犬图册》是清代画家佚名创作的一幅绢本设色画。\n此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。\n画法工整，具有一定的程式。\n对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[23,24,97,27,29,482,1315,7,82,32,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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-pi-zhang-yu-201968","百猴图横披","章于","山林之间，百猴竞趣——或攀枝跃涧，或蹲石戏耍，或相倚亲昵，姿态鲜活灵动，尽显灵猴天性。工笔细绘猴身毛发，根根分明；山石以皴法写就，纹理苍劲；古木虬枝盘曲，墨色浓淡相宜，设色古朴雅致。构图疏密有致，野趣盎然，既勾勒出自然山林的清幽之境，又以群猴的热闹情态打破静谧，动静相生间传递出蓬勃生机，是一幅融写实细腻与写意野趣于一体的佳作。",[3619,27,58,36,29,59,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6100fe9d23073d4445c22c81a0c5207.jpg",[65],"947346",{"id":8089,"slug":8090,"title":8091,"dynasty":205,"author":6974,"museum":53,"description":8092,"tags":8093,"thumbUrl":8094,"material":146,"size":8095,"collection":41,"collections":8096,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},291016,"xiao-chun-xi-jing-tu-zhao-yong-291016","小春熙景图","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。",[23,56,57,36,33,7,59,61,116,282,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff512888b5e32fa7757161f1a46d8c0bd.jpg","155x76.5",[],{"id":8098,"slug":8099,"title":8100,"dynasty":205,"author":306,"museum":53,"description":8101,"tags":8102,"thumbUrl":8104,"material":270,"size":8105,"collection":135,"collections":8106,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},291015,"xia-shu-qi-sheng-tu-yi-ming-291015","夏墅棋声图","此幅绘夏景。鹿儿悠游於柏荫下，两位文士，正对坐下棋。另两人，一倚立，一倨坐，在旁观棋。童子或提著洒器，或捧茶具、或挥羽扇，侍立于旁。",[23,56,29,33,7,8103,395],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661bf76732a15f6b6031c918d4975747.jpg","132.8x79.8",[135],{"id":8108,"slug":8109,"title":8110,"dynasty":205,"author":8111,"museum":53,"description":8112,"tags":8113,"thumbUrl":8114,"material":211,"size":8115,"collection":41,"collections":8116,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴","柯九思","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[194,23,57,56,36,38,7,37,30,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":8118,"slug":8119,"title":8120,"dynasty":205,"author":575,"museum":20,"description":4423,"tags":8121,"thumbUrl":8122,"material":355,"size":356,"collection":41,"collections":8123,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399","山水图（珂罗版）",[78,23,194,57,997,31,30,58,7,245,37,82,39,6597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],{"id":8125,"slug":8126,"title":6239,"dynasty":205,"author":306,"museum":20,"description":8127,"tags":8128,"thumbUrl":8130,"material":355,"size":356,"collection":41,"collections":8131,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},290320,"sui-chao-tu-zhou-yi-ming-290320","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[194,23,56,29,27,33,113,36,7,39,8129,6251],"市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576a2e63e63124f7c0eced854dfc1b0c.jpg",[],{"id":8133,"slug":8134,"title":8135,"dynasty":51,"author":2293,"museum":20,"description":8136,"tags":8137,"thumbUrl":8138,"material":355,"size":356,"collection":41,"collections":8139,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":69},287815,"gu-shu-qi-niao-tu-li-zhou-yuan-shang-tong-287815","古树栖鸟图立轴","袁尚统（1570—1661年后）明代画家。字叔明，江苏苏州人。善画。善画山水、人物、花鸟。山水浑厚，人物野放，多画民间风俗，，作品有浓厚生活气息。",[78,23,24,194,56,57,380,7,39,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0ebaf1cadc87a2f1a0a5df6e056ae8.jpg",[],{"id":8141,"slug":8142,"title":6843,"dynasty":155,"author":1640,"museum":20,"description":6844,"tags":8143,"thumbUrl":8144,"material":355,"size":356,"collection":41,"collections":8145,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":69},237618,"hong-ren-shan-shui-ce-hong-ren-237618",[23,24,97,57,58,32,31,30,36,61,82,7,38,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd3963f9cc3e8bb7f5738ddd57592de.jpg",[],{"id":8147,"slug":8148,"title":191,"dynasty":155,"author":909,"museum":3044,"description":8149,"tags":8150,"thumbUrl":8151,"material":41,"size":41,"collection":65,"collections":8152,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":69},236734,"shan-shui-ce-hua-yan-236734","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[23,24,97,57,31,32,7,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c1719b75934f6039e6de57868773959.jpg",[65],{"id":8154,"slug":8155,"title":8156,"dynasty":51,"author":8157,"museum":20,"description":8158,"tags":8159,"thumbUrl":8160,"mater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浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[78,29,8202,27,36,380,321,7,2755,37,35,33,588,39,8203,8204,59,7434],"金碧","红花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":8208,"slug":8209,"title":2505,"dynasty":155,"author":7493,"museum":20,"description":8210,"tags":8211,"thumbUrl":8212,"material":41,"size":41,"collection":41,"collections":8213,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":69},228484,"mu-niu-tu-zhang-mu-228484","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[78,23,57,25,58,1169,36,7,37,447,855,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":8215,"slug":8216,"title":8217,"dynasty":51,"author":8218,"museum":20,"description":8219,"tags":8220,"thumbUrl":8221,"material":41,"size":41,"collection":41,"collections":8222,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":69},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","钱毂","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[78,23,24,97,29,57,36,58,245,367,37,61,113,117,39,38,59,448,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":8224,"slug":8225,"title":8226,"dynasty":205,"author":6974,"museum":20,"description":8227,"tags":8228,"thumbUrl":8229,"material":41,"size":41,"collection":41,"collections":8230,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":664},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。",[78,23,29,36,58,33,38,117,61,37,114,116,7,39,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":8232,"slug":8233,"title":8234,"dynasty":155,"author":8235,"museum":20,"description":8236,"tags":8237,"thumbUrl":8238,"material":41,"size":41,"collection":41,"collections":8239,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},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”。",[78,194,23,24,56,29,58,36,80,117,61,37,35,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":8241,"slug":8242,"title":129,"dynasty":155,"author":8235,"museum":20,"description":8243,"tags":8244,"thumbUrl":8245,"material":355,"size":356,"collection":41,"collections":8246,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":69},224194,"shan-shui-tu-wu-hong-224194","吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。",[78,530,23,57,58,36,7,59,80,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":8248,"slug":8249,"title":8250,"dynasty":109,"author":306,"museum":3044,"description":8251,"tags":8252,"thumbUrl":8253,"material":41,"size":41,"collection":41,"collections":8254,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},223571,"xi-pan-gui-mu-tu-yi-ming-223571","溪畔归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。\n牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。",[78,23,24,29,27,58,36,37,1169,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5951ff9e84033a61bc0d4c305cb17153.jpg",[],{"id":8256,"slug":8257,"title":3706,"dynasty":205,"author":306,"museum":53,"description":8258,"tags":8259,"thumbUrl":8260,"material":4960,"size":8261,"collection":41,"collections":8262,"showCount":88,"zanCount":201,"manualWeight":45,"mainColor":46},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。",[78,23,194,24,57,58,36,38,116,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","27.5x50.7厘米",[],{"id":8264,"slug":8265,"title":8190,"dynasty":205,"author":6974,"museum":20,"description":8266,"tags":8267,"thumbUrl":8268,"material":8269,"size":8270,"collection":41,"collections":8271,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},221867,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-221867","赵雍 （公元1289—？年），字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。赵雍承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。幼即勤奋，得母指教，稍懈母即严责之。稍长，“所画浓淡浅深皆至理”。山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。书善正、行、草，亦长篆书，体势清劲。",[78,194,23,24,97,57,58,36,3359,1352,117,59,209,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71628b63edcc8a6d2dd2ebba0b6fdf9.jpg","扇","68X77",[],{"id":8273,"slug":8274,"title":8275,"dynasty":109,"author":4854,"museum":444,"description":4855,"tags":8276,"thumbUrl":8277,"material":146,"size":4858,"collection":41,"collections":8278,"showCount":88,"zanCount":201,"manualWeight":45,"mainColor":69},216918,"xiang-shan-jiu-lao-tu-2-ma-xing-zu-216918","香山九老图-2",[78,23,24,27,29,58,36,33,7,59,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbf725ee005af6d80db4532a1bf9d2b.jpg",[],{"id":8280,"slug":8281,"title":8282,"dynasty":51,"author":898,"museum":20,"description":8283,"tags":8284,"thumbUrl":8285,"material":211,"size":41,"collection":41,"collections":8286,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":46},216316,"xi-xiang-ji-zhen-ben-tu-ce-2-chen-hong-shou-216316","西厢记真本图册-2","画面仕女身姿婉约，衣纹线条凝练古拙，如铁线般挺劲却不失柔韵，眉宇间似凝一缕幽思。背景老树虬枝盘曲，栅栏隐现，庭院静谧氛围悄然弥漫。右侧题字印章错落有致，笔墨古朴，与左侧人物景致相映成趣，尽显文人画的雅致意趣。整幅画作于简淡中见深意，线条的张力与意境的幽远交融，将古典情境的韵致娓娓道来，笔墨间的高古气息扑面而来，令人沉浸于那份含蓄的古典情韵里。",[23,28,97,33,34,7,297,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84985d2249cc7d30119b9f59c5b7da0e.jpg",[],{"id":8288,"slug":8289,"title":8290,"dynasty":155,"author":8291,"museum":1714,"description":8292,"tags":8293,"thumbUrl":8294,"material":211,"size":41,"collection":41,"collections":8295,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":69},214487,"cheng-fang-fang-gu-shan-shui-tu-4-cheng-fang-214487","程淓仿古山水图-4","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[78,23,24,36,57,26,61,37,7,59,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932f5ddf5bed89cac6a31c1dce2407f7.jpg",[],{"id":8297,"slug":8298,"title":8299,"dynasty":6574,"author":1701,"museum":157,"description":8300,"tags":8301,"thumbUrl":8302,"material":41,"size":41,"collection":65,"collections":8303,"showCount":88,"zanCount":45,"manualWeight":45,"mainColor":8304},202810,"chun-shan-chi-ting-tu-zhou-huang-bin-hong-202810","春山池亭图轴","水墨晕染间，春山如黛，云雾轻笼峰峦，层次悠远。近处溪流绕石，茅舍隐于繁荫，野趣盎然；中景池亭依崖而立，林木葱茏相映；远山墨色渐淡，尽显深邃空灵。笔墨苍劲，皴擦点染交织，墨色浓淡相宜，浑厚华滋中藏清逸，将春日山居的静谧生机凝于尺幅，尽显传统山水的韵致与匠心。",[23,57,36,58,38,37,82,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b05557af0339f05815787d4ee820f8.jpg",[65],"a4a59f",{"id":8306,"slug":8307,"title":8308,"dynasty":51,"author":841,"museum":20,"description":8309,"tags":8310,"thumbUrl":8312,"material":355,"size":356,"collection":41,"collections":8313,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},290944,"tao-gu-zeng-ci-tu-zhou-tang-yin-290944","陶穀赠词图轴","陶穀赠词乃一历史故事。相传北宋初年，陶穀出使南唐，时南唐国力弱小，而陶穀态度傲慢，在南唐后主面前出言不逊。南唐臣僚忿而设下圈套，派宫妓秦蒻兰扮做驿吏之女以诱之。原本盛气凌人的陶穀，见到温婉美丽的秦蒻兰之后，不禁为之邪念萌动，曲意奉迎并赠词讨好，变得庸俗不堪，遂败慎独之戒。",[23,56,29,33,34,2202,7,82,8311,31,30,27,395],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5b568319c9d19b4d17df302151bb77.jpg",[],12,{"id":8316,"slug":8317,"title":8318,"dynasty":205,"author":8319,"museum":20,"description":8320,"tags":8321,"thumbUrl":8323,"material":355,"size":356,"collection":41,"collections":8324,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":69},290504,"xi-shan-xin-yu-zhou-ma-wan-290504","溪山新雨轴","马琬","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。秦淮（今江苏南京）人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[194,23,56,57,36,7,80,61,37,30,8322],"新雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e1577e996b2222b03dd3d6748e752ec.jpg",[],{"id":8326,"slug":8327,"title":8328,"dynasty":205,"author":306,"museum":20,"description":8329,"tags":8330,"thumbUrl":8332,"material":355,"size":356,"collection":41,"collections":8333,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},290403,"xi-shan-shu-wu-tu-yi-ming-290403","溪山书屋图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[23,194,36,57,56,58,61,37,35,7,82,8331],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3085e8a7828c4656d239af647fcfa1c2.jpg",[],{"id":8335,"slug":8336,"title":8337,"dynasty":5755,"author":306,"museum":20,"description":8338,"tags":8339,"thumbUrl":8340,"material":355,"size":356,"collection":41,"collections":8341,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":69},287925,"bo-yuan-tie-yi-ming-287925","伯远帖","枯木虬曲瘦劲，枝桠舒展如篆籀古笔，笔法苍厚朴拙，自带萧散古意。窠石以阔笔皴擦晕染，棱线隐现，浑朴苍润，寥寥杂草轻勾，暗生机趣，简淡中见幽远意境。\n\n右侧题跋行书流丽秀雅，笔势连贯圆融，墨色干湿浓淡相映，笔意舒展自在。书画合璧，尺幅之间融绘事与文心，将文人林下清逸的审美意趣尽显无余，淡而有味，清隽耐看，尽显沉静萧散的文人风骨。",[23,24,31,32,57,7,82,30,5366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d81274083973040679a9699e2071f8.jpg",[],{"id":8343,"slug":8344,"title":8345,"dynasty":51,"author":735,"museum":20,"description":2954,"tags":8346,"thumbUrl":8347,"material":355,"size":356,"collection":41,"collections":8348,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},283719,"jia-shu-chui-yin-tu-zhou-dong-qi-chang-283719","嘉树垂荫图轴",[23,24,56,57,36,38,59,7,31,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66b384a91d0ebbfffebf386380377a3.jpg",[],{"id":8350,"slug":8351,"title":191,"dynasty":51,"author":4788,"museum":20,"description":8352,"tags":8353,"thumbUrl":8354,"material":384,"size":41,"collection":65,"collections":8355,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":69},237628,"shan-shui-ce-shen-hao-237628","沈颢（1586—1680后），字朗倩，号石天、朗道人，吴（今江苏苏州）人。补博士弟子员。沈颢风仪轩举，博雅多闻。\n早年薙发为僧，中年还俗。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著“画尘”，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[23,57,97,58,36,7,82,114,235,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20073fbc7840edd200c6a8edfaff6335.jpg",[65],{"id":8357,"slug":8358,"title":8359,"dynasty":155,"author":1726,"museum":20,"description":8360,"tags":8361,"thumbUrl":8362,"material":41,"size":41,"collection":41,"collections":8363,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":69},235862,"fang-zi-jiu-shan-shui-ye-wang-jian-235862","仿子久山水页","此作构图疏清远逸，近坡古木虬曲苍劲，扎根嶙峋石畔，枯枝干瘦却自有傲然姿态，苔点错落点缀，愈见清隽。远景山峦以干笔淡墨皴擦晕染，轮廓温和平柔，林麓间村舍隐现，似笼轻烟薄雾，满溢幽寂安闲的冬日山野意趣。\n笔墨追慕元人简淡萧散的风神，以淡墨晕出空寂冷峭的氛围，笔意醇厚内敛，无丝毫刻露之痕。对页题诗与画面呼应合璧，尽显古雅静穆的文人画韵致，将山水荒寒淡远之美诉诸笔端，是极具文人意趣的精妙小品。",[194,23,24,97,57,26,58,32,30,36,82,7,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55d50189bc2d501928537cc54c9ef61.jpg",[],{"id":8365,"slug":8366,"title":191,"dynasty":155,"author":4525,"museum":20,"description":8367,"tags":8368,"thumbUrl":8369,"material":355,"size":356,"collection":41,"collections":8370,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":69},234862,"shan-shui-ce-wang-gai-234862","王概，又作王槩。初名匄，一作改，亦名丐，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）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[23,24,97,29,36,7,39,33,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc29ca62d80ea29432bdab04656a163b.jpg",[],{"id":8372,"slug":8373,"title":4903,"dynasty":155,"author":8374,"museum":94,"description":8375,"tags":8376,"thumbUrl":8377,"material":41,"size":41,"collection":41,"collections":8378,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":69},234516,"shan-shui-ce-ye-liu-yu-234516","柳遇","柳遇，字仙期，清朝吴县（今江苏苏州）人。\n工人物，精密生动，布置树石栏廊，点缀幽花细草，以及玩物器皿色色佳妙，不亚于仇英。宋荦抚吴时曾延其摹南唐顾闳中所画韩熙载夜宴图，及所画东坡与佛印谈禅像均为艺林称赏。《国[清]朝画徵录、在亭丛稿、读画辑略、画传编韵》。",[23,29,97,36,7,61,37,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d1afa33742324cc1ab319f7c56e75e.jpg",[],{"id":8380,"slug":8381,"title":8382,"dynasty":109,"author":8383,"museum":94,"description":8384,"tags":8385,"thumbUrl":8386,"material":999,"size":8387,"collection":41,"collections":8388,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[23,24,768,57,29,58,36,37,35,81,7,116,779,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","纵23.6厘米,横25.2厘米",[],{"id":8390,"slug":8391,"title":8392,"dynasty":155,"author":8393,"museum":94,"description":8394,"tags":8395,"thumbUrl":8396,"material":197,"size":8397,"collection":41,"collections":8398,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":69},233148,"hua-qian-dong-xiang-zhou-gai-qi-233148","画钱东像轴","改琦","钱东是乾隆嘉庆年间的画家，字东皋，号袖海，又号玉鱼生，在当时享有盛名，这是改琦为其所作的遗像。此图将钱东画成禅定遗照，从格式到构思，含意都很独特。这幅作品一反一般先人遗像的陈局旧格，写钱东穿一身白色僧服，作佛弟子居士打扮，端坐蒲团之上。蒲团安置在枯藤虬蟠的古树枝杈间，绿叶垂萝成荫。树旁石案上置放着贝叶、经卷和灵芝、石磬等物。主人公俨然是位潜心参禅、面壁成佛的修行者，而不同于通常的遗像。画家如此描绘，并非钱东生前就是一位居士或虔笃的信徒，而是为了强调他超尘脱俗的品行和清净无为的志向，并以此来称颂他一生，寄托后人的思念。画面背景以工笔重彩细加描绘，人物面部的刻画是全画精华所在，细加晕染，有栩栩如生之感。图上有诸家题诗。改琦所作肖像，重视环境、背景的衬托和渲染。这幅《钱东像》在选择环境方面更具典型性，有力烘托了人物的精神世界。精细秀逸的用笔，清雅色彩，也使作品呈现出鲜明的个人特色，产生优美悦目的艺术效果，从而成为一幅传世杰作。\n改琦是清后期仕女画中成绩突出的画家，也是一位天姿英敏、诗词书画并臻的艺术家。\n改琦字伯蕴，号香白，又号七芗，别号玉壶外史。生于1774年，卒于1829年，他的祖先是新疆人，后世居北京，因祖父以武职官住松江，所以他生于松江（今上海市）。改琦幼时特别聪明，自小就喜绘画、诗文,成人后善画山水、花草、兰竹，其仕女画成绩尤为出色。秦祖永在《桐阴论化画》中，把改琦的仕女画评为“妙品”，并说他“落墨洁净，设色妍雅 ”，是一位能脱去脂粉习气的高手。",[23,24,56,29,33,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b43ba26f5832a75b9acdab6de29e7b.jpg","纵35．9厘米横50厘米",[],{"id":8400,"slug":8401,"title":8402,"dynasty":5755,"author":8403,"museum":20,"description":8404,"tags":8405,"thumbUrl":8407,"material":355,"size":356,"collection":41,"collections":8408,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[78,23,24,56,57,58,36,59,321,38,37,1169,8406,7,447],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":8410,"slug":8411,"title":2505,"dynasty":205,"author":306,"museum":20,"description":8412,"tags":8413,"thumbUrl":8414,"material":41,"size":41,"collection":41,"collections":8415,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},227897,"mu-niu-tu-yi-ming-227897","此作用色古雅沉静，青绿晕染山峦坡岸，暖黄绢底晕开春日郊野的温润柔意。垂柳为画面主角，柔婉笔意写出枝条，柳丝如烟似雾，随风轻曳，将江南春野的柔媚尽数晕开。\n坡岸浅滩间，牛群闲散啃食，寥寥数笔便勾勒出憨态，野趣横生。整体简淡疏朗，无繁复皴染，以写意笔调铺展田园意韵，将郊原恬适安宁的春日氛围缓缓晕开，带着萧散淡远的悠然意趣，观之如临春日郊野，身心皆浸在松弛静谧之中。",[78,23,29,36,33,1169,1827,245,7,914,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9473190e7c32d42ef3f7cf7f0e2429ac.jpg",[],{"id":8417,"slug":8418,"title":8419,"dynasty":109,"author":306,"museum":20,"description":8420,"tags":8421,"thumbUrl":8422,"material":41,"size":41,"collection":41,"collections":8423,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},227837,"ren-wu-tu-yi-ming-227837","人物图","此作以沉凝古雅的色调铺出院苑闲景，虬曲古松与繁密木叶相互掩映，半露的亭台衬出院囿雅致静谧的氛围。画面人物情态细腻分明，主客凭坐悠然，侍女环伺左右，或低眉静立，或趋前奉侍，仆从躬身待命，将深宅世家松弛闲适的日常缓缓铺陈。衣纹线条清劲简练，虽年深迹暗，仍能窥见宋人对人物仪态的精准拿捏，内敛沉静的笔意晕染出宋代世俗画特有的写实意趣，将旧时世家的日常闲韵定格在斑驳绢素之上，尽显古典人物画雅致沉静的审美意涵。",[78,23,24,194,27,29,33,7,395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887c9aacff0d1120952107c66b982a30.jpg",[],{"id":8425,"slug":8426,"title":8427,"dynasty":155,"author":6859,"museum":20,"description":8428,"tags":8429,"thumbUrl":8431,"material":41,"size":41,"collection":41,"collections":8432,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","《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 。",[78,23,25,29,28,33,36,8430,1169,1219,7,116,113,37,114],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":8434,"slug":8435,"title":8436,"dynasty":109,"author":306,"museum":20,"description":8437,"tags":8438,"thumbUrl":8439,"material":41,"size":41,"collection":41,"collections":8440,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":46},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[78,23,24,25,194,29,27,58,779,81,36,35,195,61,37,7,33,39,82,1353,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":8442,"slug":8443,"title":8444,"dynasty":155,"author":2387,"museum":157,"description":4489,"tags":8445,"thumbUrl":8446,"material":1400,"size":8447,"collection":41,"collections":8448,"showCount":8314,"zanCount":45,"manualWeight":45,"mainColor":69},222618,"shan-shui-ba-jing-8-gong-xian-222618","山水八景-8",[78,23,24,97,57,58,36,171,172,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767dc9c30cf5c0bb08d7677bfa84cf4e.jpg","纵24.4 厘米 横49.7 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左侧形似桃花，隐隐现出屋脊； 一个僧人和一个人坐在石头上，坐着说话，画的右边，一个男孩站着，拿着棍子听着，身后岩石上的树枝细细弯曲。 这幅画的风格与夏圭相似。",[23,24,97,57,29,33,36,424,7,30,58,8592],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4197b57f0834d525f742c53aa0b38e.jpg","20X20cm",[],{"id":8597,"slug":8598,"title":8599,"dynasty":51,"author":4788,"museum":94,"description":8600,"tags":8601,"thumbUrl":8603,"material":197,"size":8604,"collection":41,"collections":8605,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":69},233843,"bi-hu-zhu-shu-tu-zhou-shen-hao-233843","闭户著书图轴","画面苍松下篱门紧闭。窠石小溪，书屋内一人凭几挥笔著书。用笔工细严谨。自识“闭户著书多岁月，种松皆作老龙麟。安素先生，抱道高棲，日著书万言。穆如之风，真追支、许。其次公原定，逸才清骨，与予有缟紵之谊。近闻遷乔，写此代贺。癸酉中秋，朗道人颢”。钤“朗倩”白文方印等。另钤“乾隆御览之宝”等鉴藏印多方。按癸酉为崇祯六年，公元一六三三年，作者时年四十八岁。此图曾经清内府收藏。《石渠宝笈》著录。",[23,24,56,57,29,58,32,31,30,7,321,80,33,82,8602],"室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f512c1583ae2897dc676a32f26a2c32.jpg","纵96.2厘米，横40.7厘米",[],{"id":8607,"slug":8608,"title":8609,"dynasty":155,"author":909,"museum":94,"description":8610,"tags":8611,"thumbUrl":8612,"material":119,"size":8613,"collection":41,"collections":8614,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":46},233714,"ba-bai-xia-ling-tu-zhou-hua-yan-233714","八百遐龄图轴","图中柏树高大，盘曲伸展，树上八哥飞鸣对唱，热闹非凡，树下萱花盛开，生机盎然，整幅画面寓意遐（音侠）龄长寿，具有春意喧闹的祥瑞之气。作者依据不同的物象施以不同的笔法，八哥的造型生动写实，以工写结合的笔墨刻画；柏叶细碎交叠，直接以青绿、浓墨戳点；山石方硬坚实，以浓墨大写意晕染；萱花俏丽多姿，则以没骨法表现。全图于精致处愈见其工而不失笔情墨趣；写意处用笔洒脱而不失含蓄蕴藉，显示了华喦在花鸟画方面的非凡造诣以及对各种笔墨技法娴熟的运用能力。",[23,24,56,29,27,57,380,7,39,59,412,1384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe532a914d1fd6f5c2d0cd56208aaa81a.jpg","纵211厘米，横133厘米",[],{"id":8616,"slug":8617,"title":7463,"dynasty":155,"author":1030,"museum":94,"description":7621,"tags":8618,"thumbUrl":8619,"material":7624,"size":7625,"collection":41,"collections":8620,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":69},233396,"shan-shui-ren-wu-ce-jin-nong-233396",[23,24,97,29,36,33,61,7,1691,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54429029827b441643489512e15b13be.jpg",[],{"id":8622,"slug":8623,"title":7463,"dynasty":155,"author":1030,"museum":94,"description":7621,"tags":8624,"thumbUrl":8625,"material":7624,"size":7625,"collection":41,"collections":8626,"showCount":8509,"zanCount":201,"manualWeight":45,"mainColor":69},233395,"shan-shui-ren-wu-ce-jin-nong-233395",[23,24,97,29,28,57,36,33,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb161be310fe9e34df6500fcd1d828736.jpg",[],{"id":8628,"slug":8629,"title":8630,"dynasty":109,"author":306,"museum":94,"description":8631,"tags":8632,"thumbUrl":8633,"material":119,"size":8634,"collection":41,"collections":8635,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":89},233010,"qiu-shu-qu-yu-tu-ye-yi-ming-233010","秋树鸜鹆图页","图绘秋日里一只鸜鹆栖于桐树之上，利爪紧握枝干，扭颈侧目似在谛听。鸜鹆目光锐利，体态丰满，尾翼整洁，羽毛黑亮，而树叶则满布虫蚀，拘挛蜷曲，颜色枯黄。构图奇崛突兀，迥异常品。鸟为纯黑一色，故全身皆用墨染，然不同部位之毛羽的质感、层次均表现无遗，何止“墨分五色”而已！古人墨法之妙于此见之。蚀朽的树叶在画家高超的技法下“化腐朽为神奇”，勾描晕染，层次丰富。中国工笔画常写病叶，原因在此。而此图之叶堪称极致。",[23,194,24,27,29,380,7,410,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7bbc63767c997697bb2b3ecdf5479d.jpg","纵25厘米，横26.5厘米",[],{"id":8637,"slug":8638,"title":6683,"dynasty":51,"author":1602,"museum":94,"description":6684,"tags":8639,"thumbUrl":8640,"material":344,"size":6687,"collection":41,"collections":8641,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":69},232960,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232960",[23,24,97,32,30,28,57,36,7,1279,59,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee28d2c156fc7135d314b5111aca8d44.jpg",[],{"id":8643,"slug":8644,"title":8645,"dynasty":205,"author":219,"museum":53,"description":8646,"tags":8647,"thumbUrl":8648,"material":1087,"size":8649,"collection":41,"collections":8650,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":46},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[78,23,24,25,57,58,32,31,30,36,35,61,37,38,39,7,82,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":8652,"slug":8653,"title":8654,"dynasty":205,"author":306,"museum":3044,"description":8655,"tags":8656,"thumbUrl":8657,"material":344,"size":41,"collection":41,"collections":8658,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":46},231495,"bai-miao-luo-han-tu-yi-ming-231495","白描罗汉图","此作用淡墨白描写就，古松虬曲苍劲，松针层叠如盖，晕染出幽寂出尘的林下禅境。右侧长眉罗汉安坐松下，神态恬然沉静，身旁侍者恭谨侍立，持器静候。左侧匍匐之人姿态虔诚，似在礼敬罗汉，案上供花素雅清冷，烘托出庄严平和的禅意氛围。\n\n线条清劲凝练，流转婉转，既勾勒出松皮斑驳褶皱、衣袂翩然动感，又细腻刻画出人物神情气度，将禅门安然清寂的意趣尽显。笔墨简淡却意蕴悠长，以素色绘出深邃禅林雅韵，尽显雅致清和的元人白描格调。",[23,24,650,28,57,33,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b9e528a641cef044779c88475e161b.jpg",[],{"id":8660,"slug":8661,"title":8662,"dynasty":51,"author":392,"museum":20,"description":8663,"tags":8664,"thumbUrl":8666,"mater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创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[23,24,97,27,29,482,36,7,424,855,31,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":8686,"slug":8687,"title":8688,"dynasty":51,"author":306,"museum":20,"description":8689,"tags":8690,"thumbUrl":8691,"material":41,"size":41,"collection":41,"collections":8692,"showCount":8509,"zanCount":201,"manualWeight":45,"mainColor":664},228819,"yin-shi-han-shan-yi-ming-228819","隐士寒山","古柳垂荫覆着幽寂山野，佝身疾行的高士衣袂被山风掀动翻飞。铁线描劲挺勾绘衣纹，将布帛褶皱随身形舒展的柔软晕化自然，素袍以青蓝镶边提色，暗合隐者疏淡心性。\n\n高士怀中文卷紧拥，神情专注唯恐山风惊扰卷中丘壑，将隐者嗜书如命的意趣藏在细微情态中。淡墨晕染的林麓荒苔沉暗朦胧，烘托出空山幽寂，把避世高贤耽于诗书、寄情林泉的林下风流，定格在这一瞬山野行旅之间。",[78,23,27,29,56,33,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb68fa2bff19d21da694b1aa4c489e9.jpg",[],{"id":8694,"slug":8695,"title":8696,"dynasty":51,"author":306,"museum":20,"description":8697,"tags":8698,"thumbUrl":8699,"material":41,"size":41,"collection":41,"collections":8700,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":46},228797,"song-xia-fu-qin-tu-ye-yi-ming-228797","松下抚琴图页","松荫之下，皓首老翁席地而坐，凝神抚琴，垂眉静气间似将襟怀尽寄弦上。侧旁童子煨炉候立，青烟袅袅晕开夜色，与林间半露残月相映成趣。清辉漫过苔色坡岸，将山野的空阔静穆晕染得愈发幽寂。\n\n全幅设色清雅古淡，线条简逸空灵，以极简笔墨铺陈出林下雅集的幽旷意趣，将文人寄情山水、以琴明心的林下襟怀尽显无余，暗合尚简尚淡、追慕古意的审美意趣，悠悠古韵漫溢纸面，引人沉醉。",[78,23,194,24,97,29,27,33,7,297,2202,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fc3b17d6c207455e34cbf09781ad9e.jpg",[],{"id":8702,"slug":8703,"title":8704,"dynasty":205,"author":306,"museum":20,"description":8705,"tags":8706,"thumbUrl":8707,"material":41,"size":41,"collection":41,"collections":8708,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":46},228238,"fei-yan-tu-wan-shan-yi-ming-228238","飞燕图纨扇","此幅纨扇小品笔墨简淡却意趣盎然。虬曲的老柳占据一隅，浓墨写出苍劲老干，尽显风霜质感，柔细柳条轻曳飘拂，笔致清逸，将春柳的柔媚姿态晕染开来。枝头禽鸟各具情态，或静栖缩羽，或侧目顾盼，寥寥数笔便点染出灵动生机。空中飞燕振翅穿掠，墨色浓淡变化间，将疾飞之姿精妙定格。\n\n画面留白开阔，淡墨轻勾远坡，衬出天地空寂，把暮春时分清寂又暗含生机的氛围铺陈开来。全作用笔极简却意韵悠长，以水墨写意之法，将春日禽柳共生的雅致生机藏于尺幅之间，尽显空灵简淡的文人意趣。",[78,23,24,530,57,39,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce88bcd629a6b17d680a5dd4e32460.jpg",[],{"id":8710,"slug":8711,"title":8712,"dynasty":109,"author":3481,"museum":20,"description":8713,"tags":8714,"thumbUrl":8715,"material":41,"size":41,"collection":41,"collections":8716,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":69},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[78,23,24,530,57,58,36,35,38,7,82,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":8718,"slug":8719,"title":8720,"dynasty":109,"author":306,"museum":540,"description":8721,"tags":8722,"thumbUrl":8723,"material":545,"size":8724,"collection":41,"collections":8725,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":46},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[78,194,23,24,36,29,58,37,35,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb83e60ab9c09c2a0483f69fb55353f.jpg","24.1x25.4",[],{"id":8727,"slug":8728,"title":129,"dynasty":155,"author":306,"museum":53,"description":8729,"tags":8730,"thumbUrl":8731,"material":29,"size":8732,"collection":65,"collections":8733,"showCount":8509,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,23,57,58,29,31,30,36,35,33,116,7,59,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe496c200c21a39d397d49e0d8fbb32c1.jpg","纵23厘米 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为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[36,33,509,1183,8921,27,58,7,82],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbade98b43e515adc2f6308244833407.jpg","87.3×50cm",[65,123],{"id":8926,"slug":8927,"title":8928,"dynasty":155,"author":8929,"museum":1714,"description":8930,"tags":8931,"thumbUrl":8932,"material":197,"size":8933,"collection":41,"collections":8934,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":69},231351,"han-shan-zhao-yin-tu-jin-li-ying-231351","寒山招隐图","金礼嬴","金礼嬴（1772年—1807年）清朝女画家。一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，她幼时小字唤作纤纤，解以“蹴罢秋千，起来慵整纤纤手”固得其娇憨，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。吴门自明尔来便是画家云集之所，金礼嬴定居以后遂始与当地画人往来，礼嬴性喜佳山水，金礼嬴的诗作和她的画作、女红、文论、箫艺类同，均出入天然，不见机心欲望，得林下风。吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。清 金礼嬴-寒山招隐图现藏于旅顺博物馆。",[78,23,29,58,36,38,59,79,33,113,7,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847093c00e64619ff7d721d21094f33.jpg","178cmx57cm",[],{"id":8936,"slug":8937,"title":8938,"dynasty":109,"author":306,"museum":53,"description":6941,"tags":8939,"thumbUrl":8940,"material":8941,"size":8942,"collection":41,"collections":8943,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":46},231345,"xiao-han-lin-tu-yi-ming-231345","小寒林图",[23,24,57,58,36,116,7,82,1245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b96fc4e45788828c7ba9d17162640.jpg","轴","该幅42.2x49.2公分；全幅66.5公分",[],{"id":8945,"slug":8946,"title":8947,"dynasty":155,"author":2179,"museum":20,"description":8948,"tags":8949,"thumbUrl":8950,"material":41,"size":41,"collection":41,"collections":8951,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":69},231007,"jing-fu-si-qi-dong-jing-tu-ce-qian-wei-cheng-231007","景敷四气 冬景图册","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。",[23,194,97,57,58,36,7,39,38,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd21f0527ff8d6f1d7dc494b66317c6.jpg",[],{"id":8953,"slug":8954,"title":8955,"dynasty":109,"author":306,"museum":20,"description":8956,"tags":8957,"thumbUrl":8958,"material":41,"size":41,"collection":41,"collections":8959,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":46},227379,"qiu-lin-mu-gui-tu-yi-ming-227379","秋林牧归图","就素材而论,其实所画的不过是历代都有人愿画的生产工具、人们爱好的动物——牛。可是,能够这样确切地活生生地把特殊的状况之下的牛的神态描写出来,构成特殊的境界,在一般画牛的作品中还不是容易碰见的。负荷着牧童的母牛,涉过了浅水,吃力地要爬上岸去,却又似乎要回头照顾那还没有跟上来的小牛。小牛,这一稚气的、生活经验还不丰富的幼小者,伸着脖子站在对岸,望着它的母亲,要前进又不曾前进。它在号叫,似乎是要求援助。这样来描写牛,不是一般的牛的描写。观赏者可以把它当成牛来观赏,又不只是单纯地观赏一般的牛。这种稚气的幼小者的神气和亲子关系的描写,能够唤起人的亲子关系的联想和对于幼小者的爱怜。由于画家对于他所要描写的对象着迷,深切地感到牛的可爱,当他塑造形象的时候,明确地以小牛观望的神态为重点,从而避免了肤浅的物象罗列的画法,生动地表现这一特殊状态之下的牛的神态和情感。正因为这样,这一好像我们从来没有见过又好像曾经在什么地方见过的情景,十分迷人。",[78,23,29,27,7,1169,36,3359,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8bb3723de445fb263be83e42b090db.jpg",[],{"id":8961,"slug":8962,"title":8963,"dynasty":155,"author":2896,"museum":20,"description":8964,"tags":8965,"thumbUrl":8966,"material":41,"size":41,"collection":41,"collections":8967,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":69},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","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。",[78,23,57,58,26,56,36,116,7,82,37,117,245,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":8969,"slug":8970,"title":8971,"dynasty":155,"author":7813,"museum":53,"description":8972,"tags":8973,"thumbUrl":8974,"material":1087,"size":8975,"collection":41,"collections":8976,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":69},223104,"duan-qiao-can-xue-tu-dong-bang-da-223104","断桥残雪图","《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。”",[78,23,24,36,29,58,30,61,38,116,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8dfcaeca894047302a2b5b6fcbb4d6.jpg","133x66cm",[],{"id":8978,"slug":8979,"title":8980,"dynasty":155,"author":1640,"museum":94,"description":8981,"tags":8982,"thumbUrl":8983,"material":344,"size":8984,"collection":41,"collections":8985,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":69},220277,"huang-shan-tu-ce-47-hong-ren-220277","黄山图册-47","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[78,23,57,58,97,36,38,61,37,59,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6cda6b166036c2ddff5b9d2083d9e2.jpg","21.5x18.3厘米",[],{"id":8987,"slug":8988,"title":8989,"dynasty":109,"author":647,"museum":20,"description":8990,"tags":8991,"thumbUrl":8992,"material":344,"size":41,"collection":41,"collections":8993,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":69},218067,"bai-miao-luo-han-tu-ce-9-li-gong-lin-218067","白描罗汉图册-9","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[78,23,24,97,28,650,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8459a2dcd3c4e1d370d822e91a7f6504.jpg",[],{"id":8995,"slug":8996,"title":8997,"dynasty":155,"author":1726,"museum":232,"description":8998,"tags":8999,"thumbUrl":9000,"material":63,"size":41,"collection":41,"collections":9001,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":69},215009,"fang-gu-shan-shui-ce-20-wang-jian-215009","仿古山水册-20","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[78,23,57,58,97,1117,36,7,80,59,4970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33c50472a0b1e8a243d18a2d21efd8d.jpg",[],{"id":9003,"slug":9004,"title":9005,"dynasty":155,"author":9006,"museum":232,"description":9007,"tags":9008,"thumbUrl":9009,"material":211,"size":41,"collection":41,"collections":9010,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":69},214515,"shui-mo-tu-ce-3-zheng-min-214515","水墨图册-3","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[23,57,97,32,36,7,82,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1071445050b66e554e0167e91e3c0252.jpg",[],{"id":9012,"slug":9013,"title":191,"dynasty":155,"author":2065,"museum":157,"description":9014,"tags":9015,"thumbUrl":9016,"material":41,"size":41,"collection":41,"collections":9017,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":9018},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。",[194,23,24,97,57,58,36,59,117,116,7,588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2e7a9ed10d1569394c4cf2e7b5455f.jpg",[],"9594a1",{"id":9020,"slug":9021,"title":6614,"dynasty":155,"author":3463,"museum":157,"description":9022,"tags":9023,"thumbUrl":9024,"material":41,"size":41,"collection":65,"collections":9025,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":9026},203262,"fang-gu-shan-shui-tu-ce-cha-shi-biao-203262","画面构图虚实相映，近景老树虬枝旁逸，掩映亭台一角；山间小径行人依稀，添些许生活意趣。中景楼阁依山构势，飞檐翘角以界画技法精绘，梁柱门窗勾勒细致入微。远景山峦层叠，云雾轻笼，笔墨疏朗清逸，皴染互用，既袭古贤山水之幽远意境，又融自身疏简之韵致，将建筑精巧与自然旷远相契，尽显文人画雅致格调。",[23,24,97,294,36,113,58,29,33,38,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93a1a1394a38d7a6cce904c6617b824.jpg",[65],"7f644e",{"id":9028,"slug":9029,"title":9030,"dynasty":6574,"author":1701,"museum":157,"description":9031,"tags":9032,"thumbUrl":9033,"material":41,"size":41,"collection":65,"collections":9034,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":9035},202955,"huang-shan-ji-you-tu-zhou-huang-bin-hong-202955","黄山纪游图轴","墨色浓淡交错，皴笔勾勒山石筋骨，淡墨晕染云雾，山峦似隐似现。亭中独坐之人与周遭枯树、溪流相映，清寂雅致。画面以文人笔墨写黄山之景，意境悠远，尽显传统山水的笔墨意趣与深邃情怀。",[23,57,29,58,56,36,38,7,37,82,30,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626bd145b267ba132a1f8aecd6ca5d4f.jpg",[65],"d7cebe",{"id":9037,"slug":9038,"title":9039,"dynasty":155,"author":9040,"museum":157,"description":9041,"tags":9042,"thumbUrl":9043,"material":41,"size":41,"collection":65,"collections":9044,"showCount":8796,"zanCount":45,"manualWeight":45,"mainColor":9045},201880,"xie-qin-fang-you-tu-zhou-shen-yuan-201880","携琴访友图轴","沈源","画面中山峦以水墨皴擦，尽显苍劲之态；溪流蜿蜒，小桥卧波，士人携琴而行，步履间似有雅韵流淌。岸边屋舍隐于林木，与自然相映成趣，整体清幽静谧，笔墨简练却意境深远，将山水之秀与文人之趣融于一纸，尽显古典雅致之美。",[36,57,56,58,61,37,33,38,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddad3ed479263b3c587210a951b0387a.jpg",[65],"a0917f",{"id":9047,"slug":9048,"title":8091,"dynasty":205,"author":6974,"museum":53,"description":8092,"tags":9049,"thumbUrl":9050,"material":146,"size":8095,"collection":41,"collections":9051,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":46},291022,"xiao-chun-xi-jing-tu-zhao-yong-291022",[194,23,57,56,36,33,7,855,61,37,58,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe280b2aad3933abc0a8a4ad76450f2ec.jpg",[],9,{"id":9054,"slug":9055,"title":9056,"dynasty":51,"author":8218,"museum":20,"description":8792,"tags":9057,"thumbUrl":9058,"material":355,"size":356,"collection":41,"collections":9059,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},290946,"hui-shan-zhu-quan-tu-zhou-qian-gu-290946","惠山煮泉图轴",[194,23,56,57,29,33,7,36,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F337cab25dafc5970119e4c39fa1fe3f7.jpg",[],{"id":9061,"slug":9062,"title":9063,"dynasty":51,"author":8218,"museum":20,"description":8792,"tags":9064,"thumbUrl":9066,"material":355,"size":356,"collection":41,"collections":9067,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},290914,"xi-tong-tu-zhou-qian-gu-290914","洗桐图轴",[23,56,194,57,29,33,7,82,5349,9065],"洗桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f93987532f06bf425d5a4264a76fb36.jpg",[],{"id":9069,"slug":9070,"title":9071,"dynasty":51,"author":8827,"museum":20,"description":9072,"tags":9073,"thumbUrl":9075,"material":355,"size":356,"collection":41,"collections":9076,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},290621,"qi-xia-shan-tu-zhou-zhang-hong-290621","栖霞山图轴","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。",[194,23,24,56,36,29,57,58,38,113,6027,116,7,2622,59,5482,9074],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a87d7db47bf09af8cf9f0dfd34da7d.jpg",[],{"id":9078,"slug":9079,"title":530,"dynasty":51,"author":6098,"museum":20,"description":9080,"tags":9081,"thumbUrl":9082,"material":355,"size":356,"collection":41,"collections":9083,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},288082,"shan-mian-cui-zi-zhong-288082","崔子忠，1644年逝世，明画家，初名丹，字开予：改名子忠，字道母，号北海，青蚓（一作青引），生员，曾游董其昌之门，李自成克北京后，绝食死。",[530,23,194,24,29,33,7,82,30],"https:\u002F\u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太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[23,24,97,57,29,36,82,39,7,424,297,30,31,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa865d6cefc0c198737a49c1a24313f98.jpg",[],{"id":9125,"slug":9126,"title":9127,"dynasty":155,"author":7813,"museum":20,"description":9128,"tags":9129,"thumbUrl":9130,"material":41,"size":41,"collection":41,"collections":9131,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},238738,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238738","画弘历和江文通诗意图册","淡墨晕开山居幽境，古木虬枝环抱书斋，凭窗士子凝眸静思，似正沉湎诗中逸怀。庭院山石错落苍润，远景丘林烟岚轻笼，将咫尺画幅晕染出悠远空濛的林下雅意。\n\n右上角题诗与画境相映成趣，笔致清隽温润，舍去浓艳设色，仅以水墨干湿浓淡铺陈萧散简淡的文人意趣。将诗文里的知己之思、林居之寂融在咫尺山水庭院中，淡远空灵，把文人心底的幽怀与林下栖居的雅静合二为一，尽显中式水墨留白的澹澹禅意。",[23,24,97,57,28,27,58,31,30,33,38,7,59,395,36,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dc78376cec2516a555084645f9b74d.jpg",[],{"id":9133,"slug":9134,"title":9135,"dynasty":155,"author":9136,"museum":20,"description":9137,"tags":9138,"thumbUrl":9139,"material":41,"size":41,"collection":65,"collections":9140,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},238192,"shu-shan-guan-tu-zhou-li-shi-zhuo-238192","舒山馆图轴","李世倬","李世倬[清]（1687―1770）字天章，一字汉章、天涛，别号十石居士、太平拙吏、伊祁山人、清在号谷斋，又号菉园、星厓，居士，奉天（今辽宁沈阳）人，一作三韩（今内蒙喀喇沁旗西南）人，隶籍汉军正黄旗。如龙子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人称李太常。\n善画山水、人物、花鸟、果品，各臻其妙。少随父宦游江南，见王翚（1632—1717）得其讲论，后与马逸游，故宗法纯正而笔亦秀隽。其人物，自言得吴道子水陆道场图而阅之，遂悟其法。其花鸟、果品各种写意，盖得诸舅氏之指墨而易以笔，故能各名一家。晚年喜用指墨作人物、花鸟小品，以焦墨细擦，颇得轻重浅深之致。年逾八旬犹能作画，书小楷。",[23,29,27,58,36,321,59,447,113,79,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e170581d48db054aeb6b5322e7bd97.jpg",[65],{"id":9142,"slug":9143,"title":2085,"dynasty":155,"author":2086,"museum":20,"description":2087,"tags":9144,"thumbUrl":9145,"material":41,"size":41,"collection":41,"collections":9146,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},237878,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237878",[23,24,97,57,58,26,36,61,37,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9624ef0bbef52c8f0aaf71b18b601c96.jpg",[],{"id":9148,"slug":9149,"title":6665,"dynasty":155,"author":755,"museum":20,"description":7252,"tags":9150,"thumbUrl":9151,"material":41,"size":41,"collection":41,"collections":9152,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},237766,"yuan-ji-shan-shui-tu-ce-shi-tao-237766",[23,57,97,58,24,36,7,37,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662445e86dd448d2670228648e14a762.jpg",[],{"id":9154,"slug":9155,"title":9156,"dynasty":51,"author":3778,"museum":20,"description":9157,"tags":9158,"thumbUrl":9159,"material":41,"size":41,"collection":41,"collections":9160,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":46},237705,"shan-shui-hua-guo-ce-xiang-sheng-mo-237705","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[23,24,97,57,58,36,35,7,59,209,235,117,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceba27ea2e170a558cca7e82b35d7d02.jpg",[],{"id":9162,"slug":9163,"title":2152,"dynasty":155,"author":1114,"museum":20,"description":5554,"tags":9164,"thumbUrl":9165,"material":41,"size":41,"c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880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[23,24,530,57,58,36,7,38,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0c458d558107f65a6614c148f4e979.jpg",[],{"id":9303,"slug":9304,"title":9305,"dynasty":155,"author":755,"museum":20,"description":9306,"tags":9307,"thumbUrl":9308,"material":41,"size":41,"collection":41,"collections":9309,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},228990,"bai-kai-luo-han-tu-21-shi-tao-228990","百开罗汉图21","《石涛大士百页罗汉画册》是 于21年出版的图书。\n石涛（164—177），原名朱若极，又名原济，一作元济。\n别号大涤子、清湘老人、苦瓜和尚、瞎尊者、石道人、痴纯、若极等，朱元璋侄子朱文正子靖江王朱守谦十世孙。\n生于明崇祯十三年（164）。\n①顺治二年（1645）夏，清军攻入南京，福王朱由菘等为清军所擒。\n黄道周、郑芝龙等拥立唐王朱聿键在福州称帝，石涛的父亲朱亨嘉也在桂林自称监国。\n广西巡抚瞿式耜因为朱亨嘉非皇室嫡系，没有资格称帝，暗中遣人报唐王朱聿键，朱聿键遣军攻之，朱亨嘉为其所俘，执至福州，囚禁而死。\n石涛当时年仅5岁，由内宫太监携带逃亡，遁入佛门，太监法号喝涛，朱若极法号石涛，二人以师兄弟相称。\n朱若极遂以石涛知名于世。\n石涛幼年聪颖，喜读书。\n既通晓佛典，复好诗文，并喜爱书画，十余岁时即描摹兰草花卉，小有所成。\n未成人，随师兄喝涛北上，游历荆楚岳阳、武昌一带。\n丁酉年春，复由荆楚云游江浙。\n这一时期，是石涛初学书画的时期。\n于前人书法独喜颜真卿，而没有随着当时风气学习董其昌。\n康熙丁未（1667），石涛至宣城。\n在之后的十多年中，石涛以宣城为中心，往返于宣城、太平和黄山之间，并多次游历黄山。\n得黄山烟云变幻之助，画境日进。\n当时所与游者，有著名画家梅清，曹冠五、半山和尚、黄燕思、梅庚、施闰章、江注、吴震伯等。\n诸人既以诗文相酬唱，复以画艺相切磋。\n而梅清对石涛的影响尤其巨大。\n三游黄山，更对石涛的山水绘画产生了巨大影响。\n石涛这一时期留下的绘画作品如藏于日本泉屋博古馆的《黄山八胜图》、北京故宫博物院所藏的《黄山图》21帧等，就带有明显的新安画派风格，清秀淡雅，多用淡墨枯笔，许多画面可以与黄山风景相对应。\n因此石涛曾题画云：“黄山是我师，我是黄山友。\n心期万类中，黄峰无不有。\n” 除了山水画成就外，石涛同样精于人物绘画，其传世作品经常穿插人物形象。\n石涛勤于摹古，主要师法对象有宋代画家李公麟和米芾等，并留下一些带有浓厚古风的作品。\n《石涛大士百页罗汉图册》就是这一时期的代表作。",[23,24,97,57,28,650,33,7,113,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d6691bef27d77f387063553b249a7f.jpg",[],{"id":9311,"slug":9312,"title":4091,"dynasty":51,"author":4092,"museum":20,"description":9313,"tags":9314,"thumbUrl":9315,"material":41,"size":41,"collection":41,"collections":9316,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},228489,"fang-gu-shan-shui-ce-yun-xiang-228489","此作用笔松秀简净，以浅淡青绿晕染远山，烟岚轻笼山峦，将春山晕化为朦胧柔美的黛色剪影，悠远空寂。近岸老树虬枝舒展，枯荣相衬，坡岸错落间水面静敛，渔舟横陈，村舍掩映在淡雾中，江南平畴的清寂春景宛在眼前。\n\n画作师法宋元古意，以淡墨浅彩营造出空灵简淡的意境，不着意雕琢刻画，将山水的静穆生机融于氤氲烟霭里，尽显文人画冲和淡远的审美意趣，悠悠古意随淡彩墨韵漫开，藏着文人寄情林泉的悠然意绪。",[23,24,97,29,295,36,26,58,35,7,59,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d9cd7eb052e45097c71bd2f625593c.jpg",[],{"id":9318,"slug":9319,"title":9320,"dynasty":205,"author":306,"museum":20,"description":9321,"tags":9322,"thumbUrl":9323,"material":41,"size":41,"collection":41,"collections":9324,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},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。",[78,23,24,530,36,58,29,116,7,245,61,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":9326,"slug":9327,"title":9328,"dynasty":109,"author":306,"museum":20,"description":9329,"tags":9330,"thumbUrl":9331,"material":41,"size":41,"collection":41,"collections":9332,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":46},227871,"song-gu-wen-dao-tu-yi-ming-227871","松谷问道图","这幅山水小品以淡墨晕染出烟岚轻笼的山谷，留白营造出朦胧空寂的悠远意境。右下古松虬曲苍劲，疏枝错落尽显山野清趣，山石以简淡皴擦勾勒，带着朴拙古雅的质感。\n\n林下二人，一人趺坐松下安闲垂目，一人躬身持礼似在问道，寥寥数笔便将山林雅聚的隐逸意趣刻画尽致。边角古印晕染着岁月沉淀的静穆，整幅画作以简驭繁，将幽闲林下意趣融于尺幅之间，笔墨清简却意韵悠长，尽显雅致的文人山水格调。",[78,23,24,29,58,30,36,321,33,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1b020784fb705e4d7c880712aa2ad.jpg",[],{"id":9334,"slug":9335,"title":9336,"dynasty":155,"author":8580,"museum":20,"description":9337,"tags":9338,"thumbUrl":9339,"material":41,"size":41,"collection":41,"collections":9340,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[78,23,24,25,29,36,7,61,1169,31,30,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":9342,"slug":9343,"title":9344,"dynasty":155,"author":7893,"museum":20,"description":9345,"tags":9346,"thumbUrl":9347,"material":41,"size":41,"collection":41,"collections":9348,"showCount":9052,"zanCount":201,"manualWeight":45,"mainColor":69},224271,"shan-shui-hua-hui-ce-qi-fu-shan-224271","山水花卉冊(七)","此作用浅赭素绢为底，淡墨晕染山峦，留白如晴雪覆峰，清寂淡远。近景虬松盘曲遒劲，丹红点染秋林，暖意破开空山萧寒。山坳飞檐小楼隐于林岫之间，尽显幽居雅意。\n笔墨简淡松灵，不事雕饰，以简驭繁，将山林秋意里的静穆萧散融于尺幅中，把出世幽居的雅怀寄寓在淡墨轻彩内，平淡天真余韵悠长，尽显文人画简远清逸的意趣。",[78,23,24,97,29,36,113,7,59,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ac89da8453aafa9c7af4b69dd3c241b.jpg",[],{"id":9350,"slug":9351,"title":9352,"dynasty":205,"author":306,"museum":53,"description":9353,"tags":9354,"thumbUrl":9356,"material":270,"size":9357,"collection":41,"collections":9358,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[194,23,24,56,57,28,58,116,7,565,36,82,9355,115],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca2ef5a32f1edf374364dcd8a9dd9a.jpg","162.4x102.3",[],{"id":9360,"slug":9361,"title":1155,"dynasty":155,"author":9362,"museum":157,"description":9363,"tags":9364,"thumbUrl":9365,"material":146,"size":9366,"collection":41,"collections":9367,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},219839,"shan-shui-tu-ce-8-xie-sun-219839","谢荪","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[194,23,24,97,29,57,36,7,80,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8e5adeb26c6d2ff1eaa3be50f1696.jpg","14.2x19.2",[],{"id":9369,"slug":9370,"title":9371,"dynasty":51,"author":130,"museum":94,"description":9372,"tags":9373,"thumbUrl":9374,"material":211,"size":9375,"collection":41,"collections":9376,"showCount":9052,"zanCount":45,"manualWeight":45,"mainColor":69},214866,"shan-shui-ce-13-wen-zheng-ming-214866","山水册-13","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[78,23,2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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[78,23,997,29,58,36,35,39,7,61,80,856,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379069d1ed23b59d2210624377be955a.jpg",[],{"id":9484,"slug":9485,"title":9486,"dynasty":109,"author":306,"museum":20,"description":9487,"tags":9488,"thumbUrl":9489,"material":355,"size":356,"collection":41,"collections":9490,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":89},289568,"jiang-shan-fei-niao-tu-yi-ming-289568","江山飞鸟图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[23,194,997,57,39,7,59,1532,235,33,7532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec350e5d692b211df8cd206de5edc7.jpg",[],{"id":9492,"slug":9493,"title":9494,"dynasty":155,"author":7493,"museum":20,"description":9495,"tags":9496,"thumbUrl":9497,"material":355,"size":356,"collection":41,"collections":9498,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},289360,"hua-niao-tu-zhou-zhang-mu-289360","花鸟图轴","张穆（1805年11月29日 ——1849年12月22日 ），山西平定人，近代的爱国思想家、地理学家、诗人和书法家。生于嘉庆十年（1805）。鸦片战争中，他曾抱着爱国热情，上书言事，奔走呼号，联络在京友人，通过纪念顾炎武的活动，振奋人心。此后，他本着张扬国威，抵御沙俄侵略的目的，致力于西北边疆地理和蒙古史的研究。1849年12月22日（道光二十九年十一月九日，己酉年丙子月壬寅日）卒于京师，享年四十五岁 。1850年归葬故乡 。",[23,24,56,57,380,39,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46f354ef038cd09fdc1ea8d21cc34e.jpg",[],{"id":9500,"slug":9501,"title":9502,"dynasty":155,"author":9503,"museum":20,"description":9504,"tags":9505,"thumbUrl":9508,"material":355,"size":356,"collection":41,"collections":9509,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":46},288026,"shu-xia-ting-ruan-tu-wu-xiang-288026","树下停阮图","吴湘","吴湘，原籍广东平远县东石镇锡水村，四川邬县人。清朝道光十一年（1831）辛卯科（恩科）举人。道光十三年(1833）癸巳科进士。官至工部主事，都水司行走。",[78,23,57,29,33,7,2202,9506,56,9507],"阮","文人雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00885ec6f378fc8a502ee5093caab79.jpg",[],{"id":9511,"slug":9512,"title":9513,"dynasty":51,"author":1602,"museum":20,"description":3512,"tags":9514,"thumbUrl":9516,"material":355,"size":356,"collection":41,"collections":9517,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},287433,"wen-shi-qiao-mu-tu-shan-mian-wen-zheng-ming-287433","文石乔木图扇面",[194,23,24,530,57,9515,82,7,30],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513cc666d4642f29b5417520032a27d3.jpg",[],{"id":9519,"slug":9520,"title":9521,"dynasty":155,"author":5814,"museum":20,"description":9522,"tags":9523,"thumbUrl":9524,"material":355,"size":356,"collection":41,"collections":9525,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},240464,"shi-ce-fang-zhou-cheng-sui-240464","诗册方轴","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[155,23,24,97,57,32,30,36,7,59,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2677ddb3b16b2e9d41e3393f65c7e12a.jpg",[],{"id":9527,"slug":9528,"title":9529,"dynasty":155,"author":9530,"museum":20,"description":9531,"tags":9532,"thumbUrl":9533,"material":355,"size":356,"collection":41,"collections":9534,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":46},239069,"gu-qin-wan-shan-zhang-shi-bao-239069","鼓琴纨扇","张士保","张士保 (1805—1878) 字鞠如， 号菊如。山东掖县（今莱州市） 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用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[23,24,97,57,32,30,36,7,38,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee557396aff50c5074a6a47c1a85ad5.jpg",[],{"id":9560,"slug":9561,"title":191,"dynasty":51,"author":8858,"museum":20,"description":9562,"tags":9563,"thumbUrl":9564,"material":41,"size":41,"collection":41,"collections":9565,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},235973,"shan-shui-ce-cheng-jia-sui-235973","此作用淡墨轻皴勾勒山居景致，枯树虬枝斜出，茅舍错落于浅岸，远山晕染如黛，数点飞鸟划破空寂，笔墨极简却意韵悠长，画面清空淡雅，褪去所有繁饰，独留萧寒幽寂的林下氛围。\n\n右侧行书题诗笔意清隽疏朗，诗中夜雨孤庭、松风茶经之句，与画中景致相映成趣。以画寄兴，诗画交融，尽显幽淡孤洁的文人襟怀，将山水作为安放心神的归处，于简淡萧散之中，藏着沉静出尘的文人情思。",[23,24,97,57,32,30,36,7,38,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecdbc7c2eae54d56198a7d05c3c79ada.jpg",[],{"id":9567,"slug":9568,"title":191,"dynasty":51,"author":8858,"museum":20,"description":9569,"tags":9570,"thumbUrl":9571,"material":41,"size":41,"collection":41,"collections":9572,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},235971,"shan-shui-ce-cheng-jia-sui-235971","此作用淡墨写意枯木寒林，虬枝疏朗无叶，遍染萧寒之意。林下路侧，两位戴笠旅人骑驴缓行，简笔轻勾，便将羁旅风尘之态尽显。留白铺陈出空寂辽远的天地，愈发衬出冬日荒寒。\n\n左侧行书清隽秀雅，诗句寄寓旧游怅惘，将暮春孤山的缱绻愁思与客途寂寥相融。诗画相生相合，以极简笔墨铺就清冷萧散的氛围，尽显简淡疏旷的文人意趣，将羁旅怀思的幽绪藏在淡墨素纸之间，淡而有味，雅韵悠长。",[23,24,97,57,36,32,30,33,509,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd722b1711789083249d79cb01d992b0e.jpg",[],{"id":9574,"slug":9575,"title":2498,"dynasty":51,"author":3778,"museum":20,"description":8836,"tags":9576,"thumbUrl":9577,"material":355,"size":356,"collection":41,"collections":9578,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},235691,"shan-shui-hua-hui-ce-xiang-sheng-mo-235691",[23,57,97,58,36,33,7,38,59,37,235,117,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d1280937be3d9c6e933102baa569e8.jpg",[],{"id":9580,"slug":9581,"title":4130,"dynasty":155,"author":1040,"museum":20,"description":9582,"tags":9583,"thumbUrl":9584,"material":41,"size":41,"collection":41,"collections":9585,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},235643,"shan-shui-tu-ce-wu-li-235643","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。",[23,24,97,57,36,7,116,235,209,32,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957b3e9072675d969bf9235b59f97fd2.jpg",[],{"id":9587,"slug":9588,"title":9589,"dynasty":155,"author":1114,"museum":20,"description":9590,"tags":9591,"thumbUrl":9592,"material":41,"size":41,"collection":41,"collections":9593,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},235607,"yu-feng-kan-yue-tu-zhou-wang-hui-235607","玉峰看月图轴","干淡墨色晕染出萧疏冬景，修竹劲挺伴寒林，浅溪潺湲漫过板桥，林间隐着茅舍，远山轻笼在朦胧烟霭里，似与天相接。\n笔墨松秀简淡，以留白衬出月夜空寂清旷，将文人看月雅集的诗意融在山水间。画中人物凭桥而立，似在静候月色浸漫林野，处处尽显闲淡幽远的林下意趣，把江南冬日的清寂和文人心底的旷达雅致揉作一处，尽显水墨山水的含蓄余韵。",[23,24,56,57,58,36,424,7,61,37,38,297,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe8fb01f05805753af11d11ec086684.jpg",[],{"id":9595,"slug":9596,"title":4130,"dynasty":51,"author":9597,"museum":20,"description":9598,"tags":9599,"thumbUrl":9600,"material":355,"size":356,"collection":41,"collections":9601,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},235461,"shan-shui-tu-ce-pan-zheng-235461","潘徵","潘徵 彦宗,又字子述",[23,97,57,58,36,7,33,113,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893aeb6a78c1a71b28fb93bb15dd2fd4.jpg",[],{"id":9603,"slug":9604,"title":191,"dynasty":51,"author":9605,"museum":20,"description":9606,"tags":9607,"thumbUrl":9608,"material":355,"size":356,"collection":41,"collections":9609,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},235350,"shan-shui-ce-zhang-fu-yang-235350","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[23,24,97,57,36,35,33,7,37,31,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6bccd8a382a7956cf80a248d5b9b31.jpg",[],{"id":9611,"slug":9612,"title":9613,"dynasty":51,"author":74,"museum":20,"description":9614,"tags":9615,"thumbUrl":9616,"material":41,"size":41,"collection":41,"collections":9617,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},234629,"fang-wu-zhen-shan-shui-shan-ye-lan-ying-234629","仿吴镇山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[23,194,530,36,57,58,26,35,195,7,59,37,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf73c7eda271481e6185734fa3c895cd.jpg",[],{"id":9619,"slug":9620,"title":9621,"dynasty":51,"author":5218,"museum":20,"description":9622,"tags":9623,"thumbUrl":9624,"material":41,"size":41,"collection":41,"collections":9625,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},234510,"gu-mu-you-huang-shan-wei-zhi-ke-234510","古木幽篁扇","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。",[23,24,530,57,116,7,424,82,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd633618a97d955bc1ac3a76a3633e224.jpg",[],{"id":9627,"slug":9628,"title":9629,"dynasty":155,"author":9630,"museum":20,"description":9631,"tags":9632,"thumbUrl":9633,"material":41,"size":41,"collection":41,"collections":9634,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},234498,"zhi-wan-shan-shui-ce-ye-fan-zhi-wan-234498","志完山水册页","范志完","范志完（？—1643），字叔恺，号成六，本县利民人，宋范仲淹后裔。自幼聪颖，为文高古，母作《八行图》以教之。明朝崇祯四年（1631年）中进士。任宣府、宁国推官、真定知府、关内道副使。崇祯十四年（1641）冬，升右佥都御史、山西巡抚。后任兵部右侍郎兼右佥都御史，总督蓟州、永平、山海、通州、天津诸镇军务。",[23,24,97,29,32,36,7,61,39,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401e4555668bde7cde39e5bc5e7e4548.jpg",[],{"id":9636,"slug":9637,"title":9638,"dynasty":155,"author":9639,"museum":20,"description":9640,"tags":9641,"thumbUrl":9642,"material":41,"size":41,"collection":41,"collections":9643,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},234374,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234374","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[23,24,97,28,26,693,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9479227ffbc72ede71b0affa4c5a4c9.jpg",[],{"id":9645,"slug":9646,"title":9647,"dynasty":51,"author":3890,"museum":94,"description":9648,"tags":9649,"thumbUrl":9650,"material":344,"size":41,"collection":41,"collections":9651,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},234125,"gu-mu-ming-jiu-tu-juan-yao-shou-234125","古木鸣鸠图卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[78,23,24,25,57,32,31,30,380,2899,39,1279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93404907185c0eca0bfabab4c0d12d59.jpg",[],{"id":9653,"slug":9654,"title":7131,"dynasty":109,"author":306,"museum":94,"description":9655,"tags":9656,"thumbUrl":9657,"material":545,"size":9658,"collection":41,"collections":9659,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":46},234005,"chun-shan-yu-ting-ye-yi-ming-234005","旧题张训礼《春山渔艇图》，著色青绿山水，洋溢着春天江山的迷人景色。小中见大，咫尺千里。",[23,194,24,97,29,58,36,35,81,7,37,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58925613d9d45dd69436ad5f30d253bc.jpg","纵29厘米横29.8厘米",[],{"id":9661,"slug":9662,"title":191,"dynasty":155,"author":2387,"museum":94,"description":2388,"tags":9663,"thumbUrl":9664,"material":384,"size":2392,"collection":41,"collections":9665,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":46},233979,"shan-shui-ce-gong-xian-233979",[23,24,194,97,57,58,36,117,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c506e1dd94b12399f4ff8f6e1f1702.jpg",[],{"id":9667,"slug":9668,"title":9669,"dynasty":51,"author":291,"museum":94,"description":9670,"tags":9671,"thumbUrl":9672,"material":119,"size":9673,"collection":41,"collections":9674,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":46},233760,"ren-wu-gu-shi-ce-7-chou-ying-233760","人物故事册7","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,97,27,29,33,36,113,321,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380d0e84f9cd583dda27a702d507c950.jpg","纵41.4厘米，横33.8厘米",[],{"id":9676,"slug":9677,"title":2113,"dynasty":155,"author":2114,"museum":94,"description":2115,"tags":9678,"thumbUrl":9679,"material":84,"size":2118,"collection":41,"collections":9680,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},233453,"ren-wu-shan-shui-ce-luo-pin-233453",[23,24,97,57,29,33,7,381,36,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdc0cb6cc09557977d6c19bb8f10aac.jpg",[],{"id":9682,"slug":9683,"title":7463,"dynasty":155,"author":1030,"museum":94,"description":7621,"tags":9684,"thumbUrl":9685,"material":7624,"size":7625,"collection":41,"collections":9686,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":89},233398,"shan-shui-ren-wu-ce-jin-nong-233398",[23,24,97,57,31,32,28,33,7,681,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1660b2f6bf892603d6fcab8ae26a966d.jpg",[],{"id":9688,"slug":9689,"title":9690,"dynasty":155,"author":9691,"museum":1714,"description":9692,"tags":9693,"thumbUrl":9694,"material":197,"size":9695,"collection":41,"collections":9696,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":46},232672,"song-xia-zhu-geng-tu-tuan-shi-gen-232672","松下煮羹图","团时根","团时根［清］江苏泰州人。工写意人物，曾随某将军赴西藏，尝画一册，纯有干笔写旁塞光景山城夜角，羽檄飞骑，各肖其态。",[78,23,24,57,29,33,7,321,957,481,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d3511a98ddf0bee86499ffdd938cb5.jpg","174cmx104cm",[],{"id":9698,"slug":9699,"title":9700,"dynasty":155,"author":377,"museum":20,"description":9701,"tags":9702,"thumbUrl":9703,"material":41,"size":41,"collection":41,"collections":9704,"showCount":125,"zanCount":45,"manualWeight":45,"mainColor":69},232609,"tian-guang-yun-jing-tu-ce-zhu-da-232609","天光云景图册","朱耷（1626—约1705年），明末清初画家，中国画一代宗师。本名朱统托，字雪个，号八大山人、个山 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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》",[23,24,97,57,58,36,7,82,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef0813ead55ecab512339201cb44a55.jpg",[],{"id":9963,"slug":9964,"title":4091,"dynasty":155,"author":1114,"museum":20,"description":8173,"tags":9965,"thumbUrl":9966,"material":1816,"size":8177,"collection":41,"collections":9967,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},234718,"fang-gu-shan-shui-ce-wang-hui-234718",[23,57,97,36,7,80,5817,235,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e29cb975f83fed9787f370f4a98f775.jpg",[],{"id":9969,"slug":9970,"title":191,"dynasty":155,"author":3463,"museum":94,"description":9971,"tags":9972,"thumbUrl":9973,"material":84,"size":41,"collection":41,"collections":9974,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},234313,"shan-shui-ce-cha-shi-biao-234313","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[97,57,32,36,33,509,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ead96bc1ffc5bf506f5a5e573c082.jpg",[],{"id":9976,"slug":9977,"title":191,"dynasty":155,"author":2387,"museum":94,"description":2388,"tags":9978,"thumbUrl":9979,"material":384,"size":2392,"collection":41,"collections":9980,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},233985,"shan-shui-ce-gong-xian-233985",[23,24,97,57,58,36,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2995c0eb3905a2fdf9ba282f37e9e2cc.jpg",[],{"id":9982,"slug":9983,"title":191,"dynasty":155,"author":2387,"museum":94,"description":2388,"tags":9984,"thumbUrl":9985,"material":384,"size":2392,"collection":41,"collections":9986,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":46},233984,"shan-shui-ce-gong-xian-233984",[23,194,24,97,57,58,36,172,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f29f18b9b87227933839758e1c857f.jpg",[],{"id":9988,"slug":9989,"title":7463,"dynasty":155,"author":1030,"museum":94,"description":7621,"tags":9990,"thumbUrl":9991,"material":7624,"size":7625,"collection":41,"collections":9992,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},233394,"shan-shui-ren-wu-ce-jin-nong-233394",[23,24,97,28,33,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7c7dc02a72501f87cd3b4f416fab9c.jpg",[],{"id":9994,"slug":9995,"title":9996,"dynasty":51,"author":9997,"museum":20,"description":9998,"tags":9999,"thumbUrl":10000,"material":41,"size":41,"collection":41,"collections":10001,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},233374,"shi-zhu-zhai-pu-ce-hu-ri-cong-233374","十竹斋谱册","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。",[23,24,97,57,29,7,5094,82,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9130d676cfa08a2d37c8d1716a8eb941.jpg",[],{"id":10003,"slug":10004,"title":10005,"dynasty":155,"author":8235,"museum":94,"description":4632,"tags":10006,"thumbUrl":10007,"material":41,"size":41,"collection":41,"collections":10008,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},233228,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-fang-li-cheng-shan-shui-ye-wu-hong-233228","金陵诸家山水花卉册-仿李成山水页",[23,194,24,97,57,58,36,79,7,61,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff024a8ec9b6e0df9a39e8246585e9f.jpg",[],{"id":10010,"slug":10011,"title":10012,"dynasty":155,"author":10013,"museum":20,"description":10014,"tags":10015,"thumbUrl":10017,"material":41,"size":41,"collection":41,"collections":10018,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":46},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 涂洛陆日为合绘高其佩洗聪明图 指头生活——高其佩作品 杂画册 策杖观涛图 江岸笛声图 蜘蛛图 苍鹰待擒图 梅竹图 鱼虾图 风帆出峡图 三牛图 猿戏图 狮子听泉图 策杖行旅图 松鹤图 人物杂画册 荷花翠鸟图 北上京师纪游册 游骑图 蜀葵图 天宁寺图 捕鱼图 拈针图 臼沟河图 龙图 虎图 樱桃小鸟图 冰图 石首鱼图 青菜图 竹石花卉图册（笔画） 三石图 牡丹图 山茶图 玉兰图 兰花圈 牡丹图 桂花圈 芙蓉图 萱草海棠图 松树图 梅树图 竹枝图 花鸟图 古木幽亭图 雪景山水图 柳塘鸳鸯图 钟馗降魔图 鱼虾水戏图 溪桥古木图 杜陵诗意图 怒容钟馗图 杂画图册 雁归图 沧海孤舟图 松驴图 松下授经图 鱼戏图 枝头小鸟图 风竹图 牡丹图 兰花图 凤凰梧桐图 狮子观瀑图 秋菊图 花卉图册 黄菊图 葡萄图 兰花图 出水芙蓉图 萱花图 虞美人图 绣球花图 桃花图 牡丹图 梅花图 杂画图册 骏马图 蜷猫图 鲜果图 枝图 佛手图 荚蓉图 寄生草图 竹笋图 杂画图册 桂兔图 月季图 双燕图 秋葵图 柳鸶图 萱草图 桃花游鱼图 柳荫扁舟图 杂画册 洛神图 孤帆远景图 钟旭图 云龙图 猛虎图 牧童图 松鼠图 寒泉图 雁陈图 静观图 人物杂画图册 老翁携仆图 风竹图 枝头孤鸟图 疏木流泉图 顽石花卉图 捕蝶仕女图 菊兰图 雉鸡图 依松听泉图 山中高士图 观瀑图 俯视一切图 游骑图 观潮图 春游图 深谷水泻图 采芝图 云中钟馗图 钟馗图 文昌像 麒麟送子图 牛背诵经图 鸿雁图 秋柳水鸟图 雄鸡水仙图 石崖雄鸡图 梧桐喜鹊图 草兰花图 牡丹图 松鹰图 松鹰图 松鹰图 雄鹰窥雀图 鹰木图 云龙图 山君饮涧图 踞虎图 饱虎图 虎啸图 喜报封侯图 松鹿图 题画诗十二首 高其佩款印 高其佩年表 指画生息——指画传派作品 朱伦瀚山虎咆哮图 朱伦瀚云龙图 朱伦瀚龙虎风云图 朱伦瀚春山待读图 朱伦瀚逆流撑篙图 朱伦瀚松下观泉图 朱伦瀚仙山春晓图 朱伦瀚松溪论道图 朱伦瀚山水杂画册 朱伦瀚杂画图册 高凤翰花卉图册 李世倬钟馗策蹇图 李世倬雄鸡菊石图 薛渔柏鹿双寿图 高秉杂画册 朱孝纯山水图册 苏廷煜梅兰竹菊册 苏廷煜杂画册 苏廷煜墨竹图 罗聘团扇徘徊图 罗聘西瓜图 严钰仿高其佩溪山竹居图 张敌钟馗图 甘士调芙蓉水禽图 甘士调松鹰图 甘士调春燕图 甘士调藕蟹图 甘士调荷花游禽图 傅雯钟馗图 傅雯观音变相图 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《指头生活三百年·下卷》",[78,23,24,56,29,10016,33,36,7,59,58,481],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707cad4fc65c61dfbf21de15bf26ca76.jpg",[],{"id":10020,"slug":10021,"title":129,"dynasty":155,"author":909,"museum":20,"description":10022,"tags":10023,"thumbUrl":10024,"material":41,"size":41,"collection":41,"collections":10025,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},230183,"shan-shui-tu-hua-yan-230183","此作笔致秀逸清灵，以淡赭晕染层叠崖壁，勾勒垂落飞泉，孤松虬枝斜倚崖侧，疏朗带风。画中高士凭岩端坐，临流观瀑，尽显林泉高致。远景山峦淡晕朦胧，留白铺就空寂辽远的天地，将山野幽居的萧散之趣尽数铺陈。四周题跋密布，书画交融，更添文雅古意，把文人耽爱林泉、静悟山水的隐逸心境藏入尺幅之间，淡远空灵，尽显幽寂出尘的林下之风，将山水清旷与书卷雅韵相融，尽显高古清幽的隐逸之美。",[78,23,24,29,58,32,31,36,33,172,447,855,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb52b9cce7c0aec2faa81b9a65f6fa2.jpg",[],{"id":10027,"slug":10028,"title":10029,"dynasty":205,"author":306,"museum":20,"description":10030,"tags":10031,"thumbUrl":10032,"material":41,"size":41,"collection":41,"collections":10033,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":46},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[78,23,57,36,97,28,58,116,7,424,82,61,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c54853a4977f83f600f2b3a3909c5df.jpg",[],{"id":10035,"slug":10036,"title":10037,"dynasty":5755,"author":10038,"museum":20,"description":10039,"tags":10040,"thumbUrl":10046,"material":355,"size":356,"collection":10047,"collections":10048,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":46},226086,"the-old-tree-at-the-confluence-1889-mo-nai-226086","The Old Tree at the Confluence, 1889","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[10041,10042,10043,10044,36,856,117,7,6490,5387,460,10045],"印象派","油画","光影表现","短笔触","自然风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff92193d1b38c9b54d64327c68faff0a9.jpg","油画精选",[10047],{"id":10050,"slug":10051,"title":10052,"dynasty":5755,"author":10053,"museum":20,"description":10054,"tags":10055,"thumbUrl":10059,"material":355,"size":356,"collection":10047,"collections":10060,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":46},225836,"the-road-menders2-1889-fan-gao-225836","The Road Menders2 1889","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[10042,10056,29,7,10057,33,10058,80],"后印象派","街道","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c12932130ff872fdfdf67841694e767.jpg",[10047],{"id":10062,"slug":10063,"title":10064,"dynasty":5755,"author":306,"museum":20,"description":10065,"tags":10066,"thumbUrl":10070,"material":41,"size":41,"collection":41,"collections":10071,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},225307,"fu-shi-hui-36-yi-ming-225307","浮世绘36","平远构图铺展幽谧海国盛景，石桥跨海蜿蜒，旅人策杖徐行，将尘世烟火揉入静穆烟波。海面上古舟缓行，樯帆轻扬，漾开细碎水纹晕开闲淡意趣。远景岛岫含翠，古木疏朗，淡霭间隐见富士山，晕染出悠远空寂的氛围感。\n\n画面以清隽雅致的色彩铺陈，蓝白晕开辽阔海天，暖黄点染桥道与秋树，柔化山海的清冷。笔致朴拙温润，将远洋行旅的悠然意趣藏在平澹笔色间，侘寂淡柔的诗意漫溢其间，把山海间的松弛闲静凝为永恒帧景。",[10067,8921,29,36,61,37,35,4380,7,10068,10069],"浮世绘","岛屿","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1179db3afe9ee8867dfe0295acbfb673.jpg",[],{"id":10073,"slug":10074,"title":10075,"dynasty":155,"author":457,"museum":20,"description":10076,"tags":10077,"thumbUrl":10078,"material":41,"size":41,"collection":41,"collections":10079,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":46},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[78,23,29,58,97,36,61,37,7,59,80,1279,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":10081,"slug":10082,"title":10083,"dynasty":51,"author":306,"museum":20,"description":10084,"tags":10085,"thumbUrl":10086,"material":41,"size":41,"collection":41,"collections":10087,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},223682,"feng-yu-po-zhou-tu-yi-ming-223682","风雨泊舟图","此作以淡墨晕染出空濛雨意，水雾裹挟秋意漫过江天。近岸怪石虬松相错，丹红枝叶点破深褐苍翠，晕开晚秋暖色。远山隐在烟霭中，只露嶙峋半截，将天地晕成一片苍茫。\n\n江面上薄雾横生，泊岸的舟楫静立，远水处孤帆在烟浪里浮沉，尽写羁旅之人待雨歇的怅惘。画师以虚实相生之法，将风雨欲来的沉郁秋江铺展开，淡墨轻皴晕出湿冷空寂的氛围感，把秋日羁泊的萧索意趣藏在烟水林峦之中。",[78,23,24,36,29,58,35,7,82,37,117,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04289f046947f163b3eebe5ac5d89837.jpg",[],{"id":10089,"slug":10090,"title":10091,"dynasty":109,"author":306,"museum":53,"description":10092,"tags":10093,"thumbUrl":10094,"material":545,"size":10095,"collection":41,"collections":10096,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},223429,"wu-kuan-xi-pang-xian-hua-yi-ming-223429","无款溪旁闲话","前景岩石矗立于溪旁，岩壁松树垂下，间杂着红叶、绿萝。岸上士人，拱手与渔夫问答。渔父持竿压着膝盖，稳坐船头倾听。渔父将脚深入水中，与「沧浪之水浊兮，可以濯吾足」文字叙述吻合，所画或是《楚辞》〈渔父〉。此画小斧劈皴刚劲犀利，传达出山石的坚硬嶙峋，不失为十三世纪佳作。本幅选自《宋人集绘册》第五开。",[78,23,29,27,97,33,37,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc5abf621abb036630676a076c87c6e.jpg","25.7x23.6厘米",[],{"id":10098,"slug":10099,"title":10100,"dynasty":109,"author":306,"museum":94,"description":10101,"tags":10102,"thumbUrl":10103,"material":545,"size":10104,"collection":41,"collections":10105,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":46},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[78,23,24,56,57,29,58,36,7,5748,33,117,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":10107,"slug":10108,"title":10109,"dynasty":51,"author":898,"museum":94,"description":10110,"tags":10111,"thumbUrl":10112,"material":10113,"size":10114,"collection":41,"collections":10115,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":46},221887,"za-hua-tu-ce-fang-zhao-qian-li-bi-fa-chen-hong-shou-221887","杂画图册-仿赵千里笔法","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[78,23,24,97,26,295,29,36,7,82,914,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5478b57693b040ba618e4030c80496.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":10117,"slug":10118,"title":10119,"dynasty":155,"author":9362,"museum":157,"description":9363,"tags":10120,"thumbUrl":10121,"material":146,"size":9366,"collection":41,"collections":10122,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":69},219844,"shan-shui-tu-ce-3-xie-sun-219844","山水图册-3",[23,24,97,57,29,58,36,61,37,82,39,7,80,913],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894f4e4e75e6cb0b82c2f6114e520119.jpg",[],{"id":10124,"slug":10125,"title":10126,"dynasty":51,"author":10127,"museum":157,"description":10128,"tags":10129,"thumbUrl":10130,"material":41,"size":41,"collection":65,"collections":10131,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":10132},203170,"du-fu-shi-yi-tu-ce-song-mao-jin-203170","杜甫诗意图册","宋懋晋","画面远处楼阁隐现于轻烟薄雾间，近处茅舍依林筑立，几株树木姿态各异，或葱郁或疏朗，小径蜿蜒似引观者入幽境。笔墨清逸淡雅，设色温润，界画勾勒楼阁规整有致，树木以点染与皴擦结合，尽显文人山水的诗意雅致，将杜诗中的幽寂之境化为可视图景，意境悠远，引人遐思。",[23,57,29,294,36,113,7,97,24,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917be57b32ab40cf54a9e6ab7eebb0d0.jpg",[65],"b0ab99",{"id":10134,"slug":10135,"title":2651,"dynasty":155,"author":2652,"museum":157,"description":10136,"tags":10137,"thumbUrl":10138,"material":41,"size":41,"collection":41,"collections":10139,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":10140},202726,"jiang-shan-wu-jin-tu-juan-gao-cen-202726","长卷铺展，峰峦错落间林木扶疏，枯藤老树傍崖而立，苍松挺劲。山间屋舍隐现，溪流蜿蜒穿石而过；江面烟波浩渺，孤舟泛波，远景水天相接，尽显江山悠远之致。笔墨技法上，皴法勾勒山石肌理，层次分明；水墨晕染与淡设色相融，清雅自然，将山水的雄浑与灵秀交织，传递出无尽的静谧与壮阔。",[36,25,58,57,29,35,116,7,60,115,1673,7181,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33449f505b5ad793bf9504529863861.jpg",[],"000000",{"id":10142,"slug":10143,"title":10144,"dynasty":51,"author":5825,"museum":157,"description":10145,"tags":10146,"thumbUrl":10147,"material":41,"size":41,"collection":41,"collections":10148,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":10149},202645,"gu-shu-han-ya-tu-zhou-lin-liang-202645","古树寒鸦图轴","虬枝盘曲如苍龙，墨叶稀疏带寒意。寒鸦相依枝上，羽色浓淡相间，或低头理羽，或翘首远眺，形神毕肖。用笔雄健洒脱，水墨晕染自然，老干的苍劲朴拙与禽鸟的灵动鲜活形成鲜明对比，于萧瑟之中蕴含生机。画面意境清寂，却以简括之笔勾勒出生命意趣，尽显水墨花鸟的雄浑之美。",[194,23,57,380,7,39,56,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6439981b17b15d67494385f8c55a1716.jpg",[],"9b886d",{"id":10151,"slug":10152,"title":10153,"dynasty":155,"author":8018,"museum":157,"description":10154,"tags":10155,"thumbUrl":10156,"material":41,"size":41,"collection":101,"collections":10157,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":10158},201964,"gao-gui-qing-xiao-tu-zhou-gao-feng-han-201964","高桧清霄图轴","桧树枝干虬劲盘空，苍皮皴裂如老龙鳞爪，尽显古木峥嵘之态。新梢垂叶，点缀些许艳蕊，于沉郁中透出鲜活。旁侧孤石崚嶒，笔墨简劲，与高桧形成刚柔相济的呼应。设色淡雅，皴法娴熟，笔意朴拙而气韵生动，将桧树的清霄之姿与石的沉稳融于一体，营造出静谧高远的氛围。",[23,29,82,58,7,380,24,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb14373474cac0838e138483555006d91.jpg",[101],"7e5b35",{"id":10160,"slug":10161,"title":1226,"dynasty":51,"author":7401,"museum":157,"description":10162,"tags":10163,"thumbUrl":10164,"material":41,"size":41,"collection":101,"collections":10165,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":10166},201721,"hua-niao-zhou-sheng-mao-ye-201721","画面古木虬枝，苍劲之态跃然绢上，枝干以墨笔勾勒兼晕染，显斑驳肌理。群鸟分布枝头与地面，或振翅欲飞，或栖息理羽，或踱步觅食，姿态灵动鲜活。翎羽勾勒细腻入微，设色清雅和谐，于细节处见工笔之精。树下花草点缀，笔墨简淡却生机盎然，与古木群鸟相映成趣。整体构图疏密有致，工写相济，既保写实之真，又含写意之韵，传递出自然野趣与雅致情致。",[27,29,380,39,7,925,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3e2ff9ad1fccc25487fa4736898933.jpg",[101],"8a755c",{"id":10168,"slug":10169,"title":9352,"dynasty":155,"author":4285,"museum":157,"description":10170,"tags":10171,"thumbUrl":10172,"material":41,"size":41,"collection":65,"collections":10173,"showCount":150,"zanCount":45,"manualWeight":45,"mainColor":10174},201651,"han-lin-tu-zhou-chen-mei-201651","画面展现萧瑟冬日的林野之景，几株老树虬枝盘结，树干苍劲斑驳，皴法细腻勾勒出岁月质感。疏枝横斜，无叶的枝桠在空寂中伸展，更显清冷孤寂。地面山石嶙峋，溪流蜿蜒，淡墨晕染出湿润肌理，与树木的干笔皴擦形成对比。整体以水墨为主，层次丰富，笔墨凝练，营造出清寂悠远的意境，仿佛能听见林间风声，窥见冬日山林的静谧之美。",[23,57,56,565,7,58,36,78],"https:\u002F\u002Foss.chuangqi.store\u002F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跋笔力苍劲，书法与山水呼应相合，文气融于画意，让整幅小品兼具笔墨意趣与文人雅韵，淡而不寡，简而有神，将山水的幽寂清冷与文人情致相融，余韵悠长。",[23,24,97,57,58,31,32,36,33,7,82,9291,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534891de7a684db29a99a1dcb16ff93.jpg",[],{"id":10410,"slug":10411,"title":10412,"dynasty":155,"author":10413,"museum":20,"description":10414,"tags":10415,"thumbUrl":10416,"material":344,"size":10417,"collection":41,"collections":10418,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},234878,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234878","王原祁仿古山水册","王原祁","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[23,24,97,29,36,7,424,59,37,33,30,58,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e99ca213e67f55f00ee8f1f4daa0e5.jpg","纵21厘米，横27厘米",[],{"id":10420,"slug":10421,"title":9957,"dynasty":51,"author":9255,"museum":20,"description":9958,"tags":10422,"thumbUrl":10423,"material":41,"size":41,"collection":41,"collections":10424,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},234817,"zhu-jia-shan-shui-ce-shu-jun-su-234817",[23,24,97,57,28,36,116,7,82,80,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13cbd4a038b4f123be0cf94c7ef4a46.jpg",[],{"id":10426,"slug":10427,"title":10428,"dynasty":155,"author":10429,"museum":20,"description":10430,"tags":10431,"thumbUrl":10432,"material":41,"size":41,"collection":41,"collections":10433,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},234669,"shan-shui-wan-shan-zhang-zhi-wan-234669","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[23,24,530,57,58,36,7,38,82,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8564562cf635c390306476346180fd6f.jpg",[],{"id":10435,"slug":10436,"title":191,"dynasty":155,"author":3463,"museum":20,"description":10437,"tags":10438,"thumbUrl":10439,"material":41,"size":41,"collection":41,"collections":10440,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},234643,"shan-shui-ce-cha-shi-biao-234643","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[23,24,97,32,29,36,61,37,7,39,297,35,59,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F910d489193199787947dbcb7c725e005.jpg",[],{"id":10442,"slug":10443,"title":10444,"dynasty":155,"author":1114,"museum":94,"description":10445,"tags":10446,"thumbUrl":10447,"material":41,"size":41,"collection":41,"collections":10448,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},234513,"qiu-lin-ye-zhang-tu-wang-hui-234513","秋林曳杖图","魏晋以来，杖的含义开始拓宽；以物喻人，杖也喻为品德高洁的符号。\n到唐宋，杖不再专属是老人之物，而是年轻化、文学化。杖开始与文人、与文学跬步不离。\n甚至说，几乎所有文人、诗人的作品里，都曾出现过杖的踪影。尤其是宋人，对杖的描述，就有九节杖、桄榔杖、藤杖、铁杖、鸠杖、寿杖、锡杖、玉杖、棁杖等等。\n最寻常的杖材，当是竹、藤、木。\n如竹杖，文人喜好用斑竹；斑竹有雅意，也叫湘妃竹，名字还有个美丽的故事。晋代张华《博物志》载：尧之二女，舜之二妃，曰湘夫人，帝崩，二妃啼，以涕挥竹，竹尽斑。\n斑竹为杖，自有渊源。白居易说：闲携斑竹杖，徐曳黄麻屦。元明时代的戏曲《荆钗记·启媒》里亦有：软红泥踏青时候，试蹑青鞋，慢拖斑竹，去寻良友。\n斑竹上的星星点点如星河，且每根竹材的星点大有不同，这些恐怕都是文人喜爱斑竹杖的原因。毕竟在传统的审美情趣里，常以新奇为美。\n以奇为美的追求，更能体现在藤杖的身上。\n关于藤杖的形容就有藤枝、老藤、枯藤、瘦藤、古藤、乌藤、青藤、红藤、朱藤、赤藤等，文人追求奇美，藤条的生长能更奇巧，因而极为适宜作为藤杖。\n譬如清初画圣王翚画像，即手持一枝奇怪的藤木杖，其杖头藤条宛延辗转，奇妙非常。古天一曾释出一件奇藤杖，与王翚的持杖对比，有异曲同工之妙。\n这些都是文人追求清奇的结果。\n他们热衷于奇辟之物。清新而奇妙的藤杖，在视觉上，从不同的角度观之，情趣迥异，可谓有“横看成岭侧成峰，远近高低各不同”的审美意味。\n换言之，古代文人寻求独特的杖，就像寻求一件文房、一件古董一样；他们不仅把杖当成工具，还把杖看作是文具。\n按理杖为老人所用，然而像苏轼、陆游、辛弃疾，在中青年时期即已杖在手中，可见杖与年龄并非天然相关。策杖，主要还是显示闲畅心境和作为一种生活习惯。",[23,57,58,36,33,117,37,59,448,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35474947d506ba3f20faf7c4c1b8f5a.jpg",[],{"id":10450,"slug":10451,"title":10452,"dynasty":155,"author":10453,"museum":94,"description":10454,"tags":10455,"thumbUrl":10456,"material":1816,"size":41,"collection":41,"collections":10457,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},234311,"sun-shan-shui-ce-wang-ji-234311","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[23,24,97,57,36,7,61,33,82,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e749d71188004706e7a09094515a226.jpg",[],{"id":10459,"slug":10460,"title":4455,"dynasty":109,"author":2407,"museum":94,"description":4456,"tags":10461,"thumbUrl":10462,"material":545,"size":4459,"collection":41,"collections":10463,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":46},233997,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233997",[194,23,24,28,57,27,58,59,117,39,7,1230,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg",[],{"id":10465,"slug":10466,"title":191,"dynasty":155,"author":2387,"museum":94,"description":2388,"tags":10467,"thumbUrl":10468,"material":384,"size":2392,"collection":41,"collections":10469,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":46},233986,"shan-shui-ce-gong-xian-233986",[23,24,194,97,57,36,58,7,59,80,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4aae08324cd0f960517dcbc1d914c6.jpg",[],{"id":10471,"slug":10472,"title":10473,"dynasty":205,"author":10474,"museum":94,"description":10475,"tags":10476,"thumbUrl":10478,"material":545,"size":10479,"collection":41,"collections":10480,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":46},233893,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-233893","碧梧苍石图轴","陆行直","陆行直字季道吴江（今江苏吴江）人。洪武中（公元1368—1398年）以人才授翰林典籍。善书诗画清劲为人所称。小传见《画史会要》、《珊瑚網》等书。 此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 瑚網》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。",[23,24,56,57,58,32,31,82,7,10477],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a0d56a3607216b38f91cd9c8d213f8.jpg","纵107cm，横53.2cm",[],{"id":10482,"slug":10483,"title":9280,"dynasty":51,"author":9281,"museum":94,"description":9282,"tags":10484,"thumbUrl":10486,"material":344,"size":41,"collection":41,"collections":10487,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},233853,"shi-hua-he-bi-ce-zhou-yong-233853",[23,24,97,57,29,33,7,59,3601,235,30,58,10485],"扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1575daded0dd84731ed33873af0a13d2.jpg",[],{"id":10489,"slug":10490,"title":4631,"dynasty":155,"author":2681,"museum":94,"description":4632,"tags":10491,"thumbUrl":10492,"material":41,"size":41,"collection":41,"collections":10493,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},233231,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-liu-yu-233231",[23,24,194,97,57,58,36,38,7,59,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd79e322948a0d5f2ab1ad1c41afc92.jpg",[],{"id":10495,"slug":10496,"title":10497,"dynasty":109,"author":306,"museum":94,"description":10498,"tags":10499,"thumbUrl":10500,"material":370,"size":10501,"collection":41,"collections":10502,"showCount":138,"zanCount":201,"manualWeight":45,"mainColor":46},233008,"wu-jiu-wen-qin-tu-ye-yi-ming-233008","乌桕文禽图页","雪后溪边，天色晦冥，老梅初放。树栖绶带鸟一双，毛羽绚烂。树下溪流湍急，水花飞溅。岸石上覆盖积雪，画家以水墨烘染阴天，以白粉表现积雪，以流畅的曲线描绘流水，最为独特的是为了表现溪岸岩石为水冲蚀形成的蜂窝之状，另创皴法，前此未见。",[23,194,24,768,27,29,380,7,39,37,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1707bad69d3b03c01b8057c7efac20.jpg","纵27.5cm，横26.9cm",[],{"id":10504,"slug":10505,"title":10506,"dynasty":5755,"author":10507,"museum":20,"description":10508,"tags":10509,"thumbUrl":10511,"material":355,"size":356,"collection":41,"collections":10512,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},231803,"shan-wang-ji-tu-juan-ge-chuan-guo-fang-231803","山王祭图卷","歌川国芳","此卷以明艳浮世绘笔调铺陈祭典盛景，抬舆之上，山王安坐古木之下，丹枫缀枝晕染神性肃穆。下方数百役人着齐整仪服，合力抬舆缓行，朱蓝配色鲜亮夺目，将祭典庄重又喧腾的氛围尽数铺展。左侧配文详录祭仪规制，将民俗细节与绘事相融。\n\n它定格了江户祭典鲜活热络的瞬间，既烘托出信仰的厚重庄严，也尽显庶民参与祭典时的虔诚热望，是兼具纪实性与艺术性的民俗绘卷典范。",[78,10067,25,29,33,7,412,10510,27],"仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0375123c0717bdd1a514b64fd5ea7505.jpg",[],{"id":10514,"slug":10515,"title":10516,"dynasty":205,"author":306,"museum":20,"description":10517,"tags":10518,"thumbUrl":10522,"material":41,"size":41,"collection":41,"collections":10523,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":89},231038,"su-shu-yi-ming-231038","粟鼠","此作用水墨写意写就，枯槎苍劲朴拙，栗枝舒展间，墨色浓淡晕染出叶片柔润舒展之态，栗果饱满写实，尽显秋实野趣。\n\n两只粟鼠是画中灵动焦点，淡墨晕出绒毛发肤，一笔扫就蓬松长尾，细笔勾勒爪牙眉眼，一只捧食凝神，憨态可掬，一只俯身探看，灵动俏皮。画面留白疏朗萧散，以极简笔墨铺陈出秋日林间的闲散意趣，将山野小景的生机与简淡清逸的意韵相融，尽显水墨花鸟的雅致野逸之美。",[78,194,23,24,56,57,27,58,482,10519,7,10520,10521],"鼠","叶子","粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca36ef3cadb6f575e61c0b0a7414e33.jpg",[],{"id":10525,"slug":10526,"title":10527,"dynasty":205,"author":306,"museum":20,"description":10528,"tags":10529,"thumbUrl":10530,"material":41,"size":41,"collection":41,"collections":10531,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":46},228221,"qiu-lin-shan-zhuang-tu-ye-yi-ming-228221","秋林山庄图页","此作用笔简淡松秀，以干笔皴擦辅以淡墨晕染，绘就秋日山林逸致。远山空灵虚蒙，主峰浑厚苍劲，带着沉静古拙之气。近岸林木错落，墨色浓淡相宜，枯荣交织间晕开清寂秋意。山居隐于林麓深处，石阶蜿蜒探入其间，藏着避世闲雅的意趣。浅滩碎石错落，缓流无声，野趣横生。\n\n整幅画以萧散之韵勾勒山水，摒弃繁饰，将秋日山野的幽寂与山居恬逸融为一体，尽显文人画尚意境、重简淡的风骨，观之便如踏入清秋林泉，山风裹木叶轻响漫过周身，浸满心间出世的安宁。",[78,23,57,29,58,97,36,7,59,113,3359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d509898140a5a6b0d07109bfe329e7f.jpg",[],{"id":10533,"slug":10534,"title":10535,"dynasty":109,"author":306,"museum":20,"description":10536,"tags":10537,"thumbUrl":10538,"material":41,"size":41,"collection":41,"collections":10539,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":46},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。",[78,23,24,57,29,27,58,116,7,39,59,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239db6ca37d296151263dc36a7c2dedc.jpg",[],{"id":10541,"slug":10542,"title":10543,"dynasty":155,"author":7893,"museum":20,"description":10544,"tags":10545,"thumbUrl":10546,"material":41,"size":41,"collection":41,"collections":10547,"showCount":138,"zanCount":45,"manualWeight":45,"mainColor":69},224282,"shan-shui-hua-hui-ce-shi-liu-fu-shan-224282","山水花卉冊(十六)","此作以淡墨晕染铺就清寂夜色，远山如笼薄纱，隐在月色之下，峰顶残雪凝着夜的清寒。近旁老树虬曲苍劲，疏枝错落，将荒寒之意晕开田亩间。\n\n三两茅舍围以篱栅，隐约的烟火气揉碎在清寂里，更衬郊野空阔。江畔独行身影缓步徐行，把孑然意趣融进夜色。\n\n全作用笔松秀简淡，设色浅雅无华，以极简笔墨铺陈出悠远空寂的意境，将冬夜荒村的冷逸幽然娓娓道来，尽显文人画简淡天真的意趣，藏着画者寄情林泉、静守幽独的襟怀。",[78,23,24,97,57,36,7,297,59,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf90a61c1ff07591699375f901f6300.jpg",[],{"id":10549,"slug":10550,"title":10551,"dynasty":155,"author":7893,"museum":20,"description":10552,"tags"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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[11299,11300,11301,36,33,81,7,37,39],"陶瓷","青花","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7817db7d1ee78ab38cddf12f6e8fd1.jpg",[],{"id":11305,"slug":11306,"title":11307,"dynasty":155,"author":11308,"museum":20,"description":11309,"tags":11310,"thumbUrl":11312,"material":344,"size":41,"collection":1695,"collections":11313,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},240112,"shi-ye-wang-shi-zhen-240112","诗页","王士祯","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[32,31,30,57,36,113,889,5194,779,1317,7,531,11311,320],"城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[1695],{"id":11315,"slug":11316,"title":11317,"dynasty":155,"author":10875,"museum":20,"description":11318,"tags":11319,"thumbUrl":11320,"material":355,"size":356,"collection":41,"collections":11321,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},239498,"shan-shui-ce-10-shang-guan-zhou-239498","山水册10","上官周（1665年—1752年），原名世显，后改名周，字文佐，号竹庄，福建长汀南山官坊人，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。\n山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。",[23,24,97,57,28,36,7,116,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1cc081eab9dd7dc6850507c96826.jpg",[],{"id":11323,"slug":11324,"title":11325,"dynasty":155,"author":10875,"museum":20,"description":11318,"tags":11326,"thumbUrl":11327,"material":355,"size":356,"collection":41,"collections":11328,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},239490,"shan-shui-ce-3-shang-guan-zhou-239490","山水册3",[23,24,97,57,58,36,35,7,82,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1852e608baf86edefaabe4cdc812fe80.jpg",[],{"id":11330,"slug":11331,"title":11332,"dynasty":155,"author":11333,"museum":20,"description":11334,"tags":11335,"thumbUrl":11336,"material":355,"size":356,"collection":41,"collections":11337,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},239483,"liu-yong-lang-hua-ma-wan-shan-liu-yong-lang-239483","刘用烺画马纨扇","刘用烺","清末北京著名画家。光绪年间在《启蒙画报》画插图，名声渐起。",[23,24,530,29,27,509,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a052ea1cd96cfaba3aa93dad0263103.jpg",[],{"id":11339,"slug":11340,"title":11341,"dynasty":155,"author":306,"museum":20,"description":11342,"tags":11343,"thumbUrl":11344,"material":41,"size":41,"collection":41,"collections":11345,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},239369,"wang-su-yan-pan-chui-lun-tu-zhou-yi-ming-239369","王愫岩畔垂纶图轴","此作用笔苍润兼具，以淡墨晕染远山，留白衬出寒云漠漠的空濛清寂，近景枯木虬枝盘错，皴法简练老辣，尽显冬林萧疏之态。溪湾萦回，寒波澄澈，扁舟随水漾开，渔翁垂纶独钓，暗合题诗里逍遥世外的幽怀。行书题笔清逸流畅，书画相映成趣，尽显文人画诗书画合璧的雅趣。整幅画以荒寒之景写幽隐之心，淡远空寂的意境里，藏着林泉高致的文人意趣，笔简而意悠长。",[23,24,56,57,36,35,81,116,7,58,30,32,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365095b142e809844ad3c19e6f68a954.jpg",[],{"id":11347,"slug":11348,"title":191,"dynasty":155,"author":3463,"museum":20,"description":5717,"tags":11349,"thumbUrl":11350,"material":355,"size":356,"collection":41,"collections":11351,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},239336,"shan-shui-ce-cha-shi-biao-239336",[23,24,97,57,32,58,36,61,37,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8dff69e7110e34fb36fb8e410db69d.jpg",[],{"id":11353,"slug":11354,"title":4130,"dynasty":51,"author":8827,"museum":20,"description":8828,"tags":11355,"thumbUrl":11356,"material":355,"size":356,"collection":41,"collections":11357,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},239320,"shan-shui-tu-ce-zhang-hong-239320",[23,24,97,57,58,36,116,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4606b884818a0b7e96b725c688834e.jpg",[],{"id":11359,"slug":11360,"title":11361,"dynasty":51,"author":11362,"museum":20,"description":11363,"tags":11364,"thumbUrl":11365,"material":355,"size":356,"collection":41,"collections":11366,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},239259,"shu-hua-tu-ce-cheng-min-239259","书画图册","程敏","此作用水墨写意写就，枯木枝桠如铁戟硬张，笔法老辣苍劲，嶙峋躯干尽显岁月剥蚀下的古拙不屈。拳石以淡墨晕染勾勒，简括写意，衬出枯木孤高之态。边角新竹清瘦劲拔，寥寥数笔便见清逸生机，与枯木沧桑自成冷暖对照。\n画面留白空灵疏朗，以极简笔墨传递出古淡荒寒的文人意趣，枯荣相生间暗合禅思，于简淡苍秀的笔触里，藏着静穆悠远的中式风神，是托物言志的文人小品典范。",[23,24,97,57,7,116,82,1279,39,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3712d8cf7920f1ca728ea1b1f4abda73.jpg",[],{"id":11368,"slug":11369,"title":7243,"dynasty":155,"author":7244,"museum":20,"description":11370,"tags":11371,"thumbUrl":11372,"material":41,"size":41,"collection":41,"collections":11373,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},238904,"fang-song-yuan-shan-shui-ce-dong-gao-238904","此作笔墨松灵简淡，以坡岸枯木起景，杂树错落，枝叶疏密有致，皴石淡润清透，自带萧疏秋意。水面扁舟轻漾，渔人偃卧篷中，随性悠然，将江乡闲居的幽恬况味藏在方寸之间。远景山峦以淡墨晕染，层层推远，虚实相生，把天地空寂澄澈的意境铺展开来。整幅不作刻意雕琢，尽显静穆萧散的文人意趣，淡逸的笔墨里晕开秋日江天的闲淡空寂，将山水间的隐逸之思缓缓铺陈。",[23,24,57,97,58,26,36,35,37,59,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69efedf296d2271dd3b03ba477703f86.jpg",[],{"id":11375,"slug":11376,"title":9127,"dynasty":155,"author":7813,"museum":20,"description":11377,"tags":11378,"thumbUrl":11379,"material":41,"size":41,"collection":41,"collections":11380,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},238718,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238718","此作用淡墨晕染江渚，空濛淡远，枯笔皴写林木苍劲疏朗。茅庐依树而建，曳杖老者独立坡岸，身形萧索，怅然远望。\n\n画面极简，却将拟陶诗中归来不见旧人、饥寒愧恨的凄清意绪尽数铺陈。干湿浓淡间尽显幽寂冷逸，以画释意，诗韵与画境浑然相合。简淡笔墨勾勒出世故寥落，藏着文人归处难觅的怅惘，尽显诗画交融的清雅意趣。",[23,57,58,32,30,31,97,33,36,7,588,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb255cccc29c416bdf6b4a094d25bb4f7.jpg",[],{"id":11382,"slug":11383,"title":9127,"dynasty":155,"author":7813,"museum":20,"description":11384,"tags":11385,"thumbUrl":11386,"material":41,"size":41,"collection":41,"collections":11387,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},238711,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238711","此作用左文右图的形制，将诗画相融。画面以水墨绘就板桥送别之景，着笠佩剑的行者停驻桥头，与揖手相送的故友遥遥相对，侧旁侍从牵马静候，依依别情尽在无言。远景山峦以淡墨轻皴，烟岚晕染出平远空濛之态，近岸枯木虬枝挺拔，衬出萧疏清远的氛围。\n\n笔墨秀雅清劲，皴擦简淡含蓄，将离别的缱绻怅惘融于山水间。题字与朱印错落排布，诗书画印相映成趣，尽显文人雅韵，把诗文里的惜别深情化作可感的山水意境，含蓄隽永。",[23,24,57,29,27,58,36,33,113,61,7,38,114,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9563c77083b5aa0bd8dc5dec7ab912ba.jpg",[],{"id":11389,"slug":11390,"title":11391,"dynasty":51,"author":8827,"museum":20,"description":8828,"tags":11392,"thumbUrl":11394,"material":355,"size":356,"collection":41,"collections":11395,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},237821,"xing-lin-du-bu-shan-zhang-hong-237821","杏林独步扇",[23,24,530,29,11393,9407,7,1230,412],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be1a13adf0e6e80517ea00e4ea9d968.jpg",[],{"id":11397,"slug":11398,"title":10837,"dynasty":155,"author":9103,"museum":20,"description":10777,"tags":11399,"thumbUrl":11400,"material":355,"size":356,"collection":41,"collections":11401,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},237726,"wu-sheng-shi-yi-tu-ce-huang-yi-237726",[23,24,97,57,28,58,36,33,82,7,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e532ccf97e7123f828d185a09a5033.jpg",[],{"id":11403,"slug":11404,"title":191,"dynasty":51,"author":4788,"museum":20,"description":11405,"tags":11406,"thumbUrl":11407,"material":41,"size":41,"collection":41,"collections":11408,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},237634,"shan-shui-ce-shen-hao-237634","此作用笔简逸空灵，近景坡岸茅舍清寂敞亮，屋侧古松倚山挺出，虬枝斜曳自带苍古意韵。以干笔皴擦表现山石嶙峋肌理，淡墨晕染山峦，留白化作平湖，将远近景致自然衔接。远处峰峦以淡墨轻扫，朦胧悠远，衬出空寂萧散的氛围。\n\n全画不见繁复刻画，以极简笔墨写尽林泉幽居之雅，将山居的静穆淡远尽数铺展，暗含文人寄情山水、栖心丘壑的隐逸之思，尽显文人山水疏淡清和的意趣。",[23,57,36,97,58,38,82,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeddc31dbfe2a1b9bb4ca9675ed01a45.jpg",[],{"id":11410,"slug":11411,"title":11412,"dynasty":155,"author":11413,"museum":20,"description":11414,"tags":11415,"thumbUrl":11417,"material":355,"size":356,"collection":41,"collections":11418,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},237446,"wu-gu-xiang-zhang-lin-xing-lv-shan-mian-wu-gu-xiang-237446","吴穀祥长林行旅扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[23,24,530,57,58,36,11416,368,7],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5838ebe2ac32e29e76e9fa5c712c.jpg",[],{"id":11420,"slug":11421,"title":4130,"dynasty":155,"author":11422,"museum":20,"description":11423,"tags":11424,"thumbUrl":11425,"material":355,"size":356,"collection":41,"collections":11426,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},237398,"shan-shui-tu-ce-xue-xuan-237398","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[23,24,97,57,29,58,36,7,59,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c389e1d53e7ebadf36de69feac3a60f.jpg",[],{"id":11428,"slug":11429,"title":4130,"dynasty":155,"author":11422,"museum":20,"description":11423,"tags":11430,"thumbUrl":11431,"material":355,"size":356,"collection":41,"collections":11432,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},237390,"shan-shui-tu-ce-xue-xuan-237390",[23,24,97,57,58,36,7,35,59,37,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dae6920895e90930311c4211a8a0a6.jpg",[],{"id":11434,"slug":11435,"title":11436,"dynasty":51,"author":4788,"museum":157,"description":11437,"tags":11438,"thumbUrl":11439,"material":197,"size":11440,"collection":41,"collections":11441,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},237264,"shen-hao-shan-shui-tu-ce-shen-hao-237264","沈灏山水图册","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[23,24,97,28,57,36,7,59,235,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38b5b81bcde430c081aacc9d94e845be.jpg","15.2x23.6厘米",[],{"id":11443,"slug":11444,"title":4035,"dynasty":155,"author":3463,"museum":20,"description":5717,"tags":11445,"thumbUrl":11446,"material":355,"size":356,"collection":41,"collections":11447,"showCount":163,"zanCount":45,"manua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5481,11580,11581,368,2488],"篱舍","行人","骡","孤松","萧疏","闲寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c323c56c5482cc0c622ba35940ab492.jpg",[],{"id":11585,"slug":11586,"title":4903,"dynasty":155,"author":11587,"museum":20,"description":11588,"tags":11589,"thumbUrl":11590,"material":41,"size":41,"collection":41,"collections":11591,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":46},234690,"shan-shui-ce-ye-wei-zhi-huang-234690","魏之璜","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[23,24,97,57,36,35,7,235,2734,2733,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660b012f080174b1e46d57f3f63d20e2.jpg",[],{"id":11593,"slug":11594,"title":10428,"dynasty":155,"author":11595,"museum":20,"description":11596,"tags":11597,"thumbUrl":11598,"material":41,"size":41,"collection":41,"collections":11599,"showCount":163,"zanCount":201,"manualWeight":45,"mainColor":69},234619,"shan-shui-wan-shan-jiang-yun-234619","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[23,24,530,29,36,58,38,61,37,33,7,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca450350bd005e7d6ea3a71b235a250e.jpg",[],{"id":11601,"slug":11602,"title":10428,"dynasty":155,"author":11603,"museum":94,"description":11604,"tags":11605,"thumbUrl":11606,"material":41,"size":41,"collection":41,"collections":11607,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},234598,"shan-shui-wan-shan-zhu-ling-234598","朱龄","朱龄[清]字菊坨，自号黄华道人，道光（一八二一―一八五o）时江苏上元（今南京）人。写花卉翎毛，魄力兼胜，师徐渭而有石涛逸韵。人物近唐寅，偶作山水古木槎枒，亦得蓝瑛苍古之趣。尝客清江浦寓广荫庵，一日醉后绘清奇古怪四柏树于殿之四壁，顷刻而成",[23,24,530,57,36,58,33,7,59,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88e89d4d2c2e8bf91f13c1d227e1d9d.jpg",[],{"id":11609,"slug":11610,"title":11611,"dynasty":51,"author":11612,"museum":20,"description":11613,"tags":11614,"thumbUrl":11615,"material":41,"size":41,"collection":41,"collections":11616,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},234260,"shan-shui-he-zhuang-tu-juan-sun-wei-234260","山水合装图卷","孙玮","孙玮，号松溪翁，明代隆庆万历间吴（今江苏苏州）人。工山水。其事迹已收入《中国美术家人名辞典》。",[78,194,23,24,25,57,29,36,38,39,61,37,7,82,113,117,59,31,32,9258,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f75bafa04edc4b27c971f59e44d99dc.jpg",[],{"id":11618,"slug":11619,"title":11620,"dynasty":51,"author":11621,"museum":94,"description":11622,"tags":11623,"thumbUrl":11624,"material":84,"size":11625,"collection":41,"collections":11626,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},234252,"jin-ling-shuang-gui-juan-zhu-zhi-fan-234252","金陵双桧卷","朱之蕃","桧树，又叫圆柏。在这幅长卷中，左侧是马电的《双桧图》。\n右侧是朱之蕃的《双桧图》。\n画上的题跋交代了这幅画的创作背景。马电在金陵雨花台，也就是今天江苏南京的雨花台山下看到了两棵古桧。\n桧树姿态奇特，葱郁挺拔，很像成都诸葛祠和姑苏虞祠中的树木，但不同的是，成都诸葛祠中的古柏因为有唐代大诗人杜甫写诗而名扬天下，姑苏虞祠的古柏因为有明代绘画大师沈周作画而声名远播，但这里的古桧却无人知晓。\n于是他创作了这幅《双桧图》，希望这里的桧树能被更多人了解。\n马电是朱之蕃的好朋友。朱之蕃先是向马电索要了《金陵双桧图》，不久后又买到了明代绘画大师沈周的《虞山三桧图》卷。\n朱之蕃惦念着好朋友马电，于是又创作了一幅《双桧图》，并将他的画和马电的画装裱在一起。所以，有了现在的这幅《金陵双桧卷》。\n桧树不畏霜雪，四季常青，寿命很长，因而是高洁、长寿的象征。这幅画中，两棵桧树并肩生长，象征着马电和朱之蕃的深厚友情，寓意着君子之交。\n同气连枝，是自然界中树木的相依相生，是社会中人们的相依相靠。四海之内，皆是兄弟；炎黄子孙，都是同胞。无论任何时候，中华民族的同胞都同气连枝，亲如一家，共迎磨难，共享繁荣。",[78,23,24,25,57,32,30,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f889f425dcc33c1856acb0a912b6e4.jpg","33cm*137.5cm",[],{"id":11628,"slug":11629,"title":11630,"dynasty":109,"author":306,"museum":94,"description":11631,"tags":11632,"thumbUrl":11634,"material":370,"size":11635,"collection":41,"collections":11636,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},234004,"qiu-tang-ke-hua-ye-yi-ming-234004","秋堂客话页","此画的古树和竹篱的小屋。 两人坐在室内，晚上点着蜡烛聊天。 旧题是李唐写的。 不过，从树石的画法和人物的衣纹来看，这幅画与故宫博物院李唐《采薇图》人物衣纹中多斧重笔的风格并不相符。 应该是南宋中后期的作品。",[23,24,97,57,27,33,117,59,11633,395,7],"堂屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc54c72405b3c1bb60aa9bda980b3bb4c.jpg","24.2x22.5厘米",[],{"id":11638,"slug":11639,"title":4455,"dynasty":109,"author":2407,"museum":94,"description":4456,"tags":11640,"thumbUrl":11641,"material":545,"size":4459,"collection":41,"collections":11642,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":46},233994,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233994",[23,194,24,97,28,57,29,33,172,59,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617453e3aa7873680d5f00b1148dced4.jpg",[],{"id":11644,"slug":11645,"title":191,"dynasty":155,"author":2387,"museum":94,"description":2388,"tags":11646,"thumbUrl":11647,"material":384,"size":2392,"collection":41,"collections":11648,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},233981,"shan-shui-ce-gong-xian-233981",[23,57,97,58,36,7,39,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F788f82add7533c77b92f81c6b225d8ac.jpg",[],{"id":11650,"slug":11651,"title":5075,"dynasty":109,"author":306,"museum":20,"description":11652,"tags":11653,"thumbUrl":11654,"material":41,"size":41,"collection":41,"collections":11655,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":46},227354,"dai-du-tu-ye-yi-ming-227354","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[78,194,23,24,268,768,57,29,36,7,35,59,39,209,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":11657,"slug":11658,"title":11659,"dynasty":5755,"author":306,"museum":20,"description":11020,"tags":11660,"thumbUrl":11661,"material":355,"size":356,"collection":41,"collections":11662,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},225465,"fu-shi-hui-223-yi-ming-225465","浮世绘223",[10067,29,34,297,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb44ae63e36fffc735d47020cfd180d4d.jpg",[],{"id":11664,"slug":11665,"title":11666,"dynasty":51,"author":3123,"museum":20,"description":11667,"tags":11668,"thumbUrl":11669,"material":41,"size":41,"collection":41,"collections":11670,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[23,24,97,57,29,58,31,30,36,33,7,82,1443,855,117,1230,889,1317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":11672,"slug":11673,"title":11674,"dynasty":51,"author":11675,"museum":53,"description":11676,"tags":11677,"thumbUrl":11678,"material":63,"size":41,"collection":41,"collections":11679,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},218048,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-4-wu-bin-218048","楞严廿五圆通佛像册-4","吴彬","吴彬是明朝的一位著名的文人，他是一位著名的佛学家，在佛教史上有很大的贡献。\n\n楞严廿五圆通佛像册是吴彬所著的一部著名的佛教著作，也是中国佛教史上最著名的像册之一。该像册收录了25尊佛像的图像，其中包括释迦牟尼佛、阿弥陀佛和观世音菩萨等著名的佛像。\n\n像册的图像都是用黑白线条绘制的，但是非常精细，每个细节都清晰可见。这本像册不仅是一部艺术杰作，而且也是一部佛教经典，对于学习佛教的人来说非常有价值。",[23,24,97,29,27,650,33,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed1dca4c9715be1310c88f52f4241de.jpg",[],{"id":11681,"slug":11682,"title":11683,"dynasty":51,"author":5787,"museum":20,"description":11684,"tags":11685,"thumbUrl":11686,"material":344,"size":41,"collection":41,"collections":11687,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":664},217160,"shui-hu-quan-tu-31-du-jin-217160","水浒全图-31","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。",[51,28,33,7,1183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d6921ecade3038850ad014e487edac.jpg",[],{"id":11689,"slug":11690,"title":11691,"dynasty":51,"author":306,"museum":307,"description":11692,"tags":11693,"thumbUrl":11694,"material":211,"size":41,"collection":41,"collections":11695,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},216747,"ming-qing-ren-hua-ce-1-yi-ming-216747","明清人画册-1","墨羽栖枝，浓淡泼洒间尽现翎毛丰致。枯枝以焦墨劲扫，苍劲如铁骨，旁逸藤蔓轻缠，添几分野趣。鸟之态敛翅沉思，眸中似含幽意，与空疏背景相映，愈显清寂孤高。\n\n笔墨兼融豪放与精微：泼墨处淋漓畅快，如疾风掠羽；细勾处精准传神，似银针点睛。题款朱印错落排布，与画面浑然一体，文气暗生。留白处意蕴悠长，不著一字而尽得风流，恰是文人画“以少胜多”之妙。\n\n观此帧如临秋林一隅，听寒枝微动，感水墨间流淌的淡泊孤怀。寥寥数笔，将天地清寂与文人幽思凝于尺幅，令人心折。",[23,24,97,57,380,39,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025742b8e3b1da956414bd6a706739fa.jpg",[],{"id":11697,"slug":11698,"title":11699,"dynasty":155,"author":11700,"museum":20,"description":11701,"tags":11702,"thumbUrl":11703,"material":63,"size":41,"collection":41,"collections":11704,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},215055,"tui-bei-tu-ce-53-jiao-bing-zhen-215055","推背图册-53","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[78,23,24,97,29,27,57,33,7,1119,889],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea97251a00019fab83156a1f20de9d3.jpg",[],{"id":11706,"slug":11707,"title":11708,"dynasty":155,"author":1713,"museum":307,"description":11709,"tags":11710,"thumbUrl":11712,"material":211,"size":11713,"collection":41,"collections":11714,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},214985,"zhi-tou-za-hua-ce-3-gao-qi-pei-214985","指头杂画册-3","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[78,23,57,11711,97,33,7],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2c44a773bc647022accb4d59fc06b7.jpg","36.7x33.1cm",[],{"id":11716,"slug":11717,"title":11718,"dynasty":51,"author":898,"museum":232,"description":11719,"tags":11720,"thumbUrl":11721,"material":211,"size":11722,"collection":41,"collections":11723,"showCount":163,"zanCount":45,"manualWeight":45,"mainColor":69},214547,"mo-gu-ce-ye-5-chen-hong-shou-214547","摹古册页-5","摹古册是指模仿古代的书写方式进行写字的一种书法形式。陈洪绶是一位著名的明代书法家，他的书法风格被认为是对古代书法的很好的摹写。\n\n陈洪绶，字仲容，号凤阁山人，原籍江苏无锡，生于明朝洪武十五年（1382年）。他是明朝著名的书法家，也是《颜氏书苑》的编辑之一。他的书法被认为是对古代书法的很好的摹写，具有浓郁的古典气息。他的书法作品有《陈洪绶书法集》和《陈洪绶书法精选》等。",[23,24,97,57,26,58,36,321,59,7,30],"https:\u002F\u002Foss.chuangq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明代著名画家文徵明之子文彭的玄孙。清初著名书画家。",[23,24,97,57,30,28,36,116,7,5438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ae7984f2cbf40abf7d3e3ac5bb3626b.jpg",[],{"id":12196,"slug":12197,"title":191,"dynasty":155,"author":12073,"museum":20,"description":12191,"tags":12198,"thumbUrl":12199,"material":355,"size":356,"collection":41,"collections":12200,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":69},235324,"shan-shui-ce-wen-dian-235324",[23,24,97,57,28,58,116,7,36,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c123f79fb46dec9104bb6452d012fa.jpg",[],{"id":12202,"slug":12203,"title":191,"dynasty":51,"author":4788,"museum":20,"description":12204,"tags":12205,"thumbUrl":12206,"material":41,"size":41,"collection":41,"collections":12207,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":69},235289,"shan-shui-ce-shen-hao-235289","此作用笔简淡松灵，以浅绛设色晕染层叠峰峦，山石以干笔皴擦勾勒肌理，棱角隐现间兼具雄浑朴拙与秀雅之态。古松虬曲挺立，松针攒簇苍劲，为幽寂山林添一重清刚生气。\n\n画面留白疏密相宜，铺陈出林泉空濛悠远之境，右上角题款与景致浑然相融，尽显文人画萧疏淡远的意趣，暗合著画者寄迹林泉、超然物外的林下襟怀。",[23,24,194,97,57,29,58,36,171,321,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a42f428252821636d93a148896f295b.jpg",[],{"id":12209,"slug":12210,"title":10404,"dynasty":155,"author":9006,"museum":20,"description":12211,"tags":12212,"thumbUrl":12213,"material":41,"size":41,"collection":41,"collections":12214,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":69},235094,"zheng-min-shan-shui-ce-zheng-min-235094","此作用淡墨绘就平林远渚，近岸老枝斜出，荒草萋萋，中洲村居隐于林间，远山含晕，群雁掠水而去，全幅简淡空灵，得倪瓒遗意，将皖南秋郊清旷冷寂的意韵尽显无遗。左侧题跋笔致清劲舒展，与画作格调相得益彰，文画相融，尽显画者寄情林泉、超然物外的文人逸趣。全作淡而不枯，简而意足，尽显幽淡冲和的文人画旨趣，是新安画派以笔抒怀的典型佳构。",[23,24,97,57,32,58,36,82,39,7,37,38,235,4970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0209f2ab9b0ee85b7f0dcf8ce1c2a1e2.jpg",[],{"id":12216,"slug":12217,"title":12218,"dynasty":155,"author":4606,"museum":20,"description":12219,"tags":12220,"thumbUrl":12221,"material":41,"size":41,"collection":41,"collections":12222,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":69},234825,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-xu-fang-234825","诸家书画合璧册-山水页","徐枋（1622年5月3日——1694年11月7日），明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[23,24,97,57,28,36,7,82,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c97aa471370a2c91116fc1493138e0.jpg",[],{"id":12224,"slug":12225,"title":191,"dynasty":155,"author":2387,"museum":94,"description":2388,"tags":12226,"thumbUrl":12227,"material":384,"size":2392,"collection":41,"collections":12228,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":69},233980,"shan-shui-ce-gong-xian-233980",[194,23,24,97,57,2390,36,7,116,59,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84330d4012a8ad4df3ef7d36ac48652.jpg",[],{"id":12230,"slug":12231,"title":9996,"dynasty":51,"author":9997,"museum":20,"description":9998,"tags":12232,"thumbUrl":12233,"material":41,"size":41,"collection":41,"collections":12234,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":69},233372,"shi-zhu-zhai-pu-ce-hu-ri-cong-233372",[23,24,97,57,29,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076a0552e496125da5663d5e4444c1c2.jpg",[],{"id":12236,"slug":12237,"title":9996,"dynasty":51,"author":9997,"museum":20,"description":9998,"tags":12238,"thumbUrl":12239,"material":41,"size":41,"collection":41,"collections":12240,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":69},233363,"shi-zhu-zhai-pu-ce-hu-ri-cong-233363",[23,24,97,29,82,7,638,380,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01cfea4e9147e229bdd346f9e7426cbc.jpg",[],{"id":12242,"slug":12243,"title":12244,"dynasty":205,"author":306,"museum":20,"description":12245,"tags":12246,"thumbUrl":12247,"material":41,"size":41,"collection":41,"collections":12248,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":69},230849,"qi-yan-lv-shi-yi-ming-230849","七言律诗","此作用笔温润秀雅，牵丝映带婉转自然，尽显元人行书典型风貌。结体灵动舒展，兼得晋唐行书的飘逸隽秀与赵孟頫一脉的妍媚雅致。整幅行气连贯悠然，章法错落合宜，墨色浓淡晕染细微，随着诗意起伏暗合情绪变化。\n\n卷中录自作律诗，笔墨间晕开文人雅集的闲散意趣，将与友同游的清逸情怀藏入点画之中，书韵与诗意相融，尽显元代文人以书抒情的特质，通篇清雅隽秀，尽显雅致风流，是一件兼具笔墨审美与文学意趣的佳作。",[23,24,31,32,57,30,7,296,297,39,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bd541d63c37173b96c68d9f49e224.jpg",[],{"id":12250,"slug":12251,"title":12252,"dynasty":205,"author":306,"museum":20,"description":12253,"tags":12254,"thumbUrl":12255,"material":41,"size":41,"collection":41,"collections":12256,"showCount":178,"zanCount":45,"manualWeight":45,"mainColor":46},228185,"wu-zu-shi-tu-zhou-yi-ming-228185","五祖师图轴","这幅画以淡墨枯笔写就，简率洗练。古木虬曲傍于左侧，衣袂飘然的老僧随侍童缓步而来，神情澹然浑不在意。对面士人携合十礼拜的幼童，姿态恭谨，将初见时的敬慕描摹尽致。\n\n线条苍劲灵动，寥寥数笔便勾勒出人物的形神气度，留白恰到好处，衬出幽寂禅意。右上角题字禅思隽永，点破“一梦一场”的浮生况味，笔墨与题旨相融，将禅家勘破世事的通透藏进简淡的画面之中，尽显元人写意的萧散空灵，是禅意人物画中的精妙小品。",[78,23,24,56,28,57,33,7,82,31,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc7802bce6f6c60922914a329599d76.jpg",[],{"id":12258,"slug":12259,"title":12260,"d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eight":45,"mainColor":69},234799,"shan-shui-ce-dong-bang-da-234799","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，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。",[23,57,58,97,36,38,7,59,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd1e06a3646a44773d5b6972e36d603.jpg",[],{"id":12812,"slug":12813,"title":12814,"dynasty":155,"author":12815,"museum":20,"description":12816,"tags":12817,"thumbUrl":12818,"material":41,"size":41,"collection":41,"collections":12819,"showCount":250,"zanCount":45,"manualWeight":45,"mainColor":69},234603,"qiu-kong-ya-yu-wan-shan-shen-tang-234603","秋空鸦语纨扇","沈塘","沈塘，按广印人，传作唐。字莲舫，别字雪庐，世居江苏吴江。幼即好画，後从陆恢（一八五一-一九二o）游。为吴大激（一八三五-一九o二）。张之洞（一八三七-一九o九）所契重，与补修承华事略。旋移家苏州，四方求画者不绝于门。宣统三年（一九一一）尝仿倪瓒山水图，载海上名家画集。亦善篆刻。《费树蔚撰沈君墓志铭、卓观斋笔记、广印人传》",[23,24,530,57,28,29,33,7,39,82,36,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd0fcb10136472fc068076ff3d7a54d.jpg",[],{"id":12821,"slug":12822,"title":12823,"dynasty":155,"author":306,"museum":20,"description":12824,"tags":12825,"thumbUrl":12826,"material":41,"size":41,"collection":41,"collections":12827,"showCount":250,"zanCount":45,"manualWeight":45,"mainColor":69},234557,"yu-mu-shang-xin-ce-jiang-zhu-huang-hai-dan-tai-tu-ce-ye-yi-ming-234557","娱目赏心册-江注黄海丹台图册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[23,24,97,57,32,30,31,36,61,37,7,38,681],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe24883cf2c9df50c59031297861df435.jpg",[],{"id":12829,"slug":12830,"title":12831,"dynasty":155,"author":12832,"museum":20,"description":12833,"tags":12834,"thumbUrl":12835,"material":41,"size":41,"collection":41,"collections":12836,"showCount":250,"zanCount":45,"manualWeight":45,"mainColor":69},234347,"you-niao-shi-tu-ce-jin-kun-234347","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[23,24,97,295,29,36,38,39,7,59,117,32,30,58,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5506abec93ff99383859bc58c5b7ab2b.jpg",[],{"id":12838,"slug":12839,"title":12840,"dynasty":109,"author":306,"museum":94,"description":12841,"tags":12842,"thumbUrl":12843,"material":370,"size":12844,"collection":41,"collections":12845,"showCount":250,"zanCount":45,"manualWeight":45,"mainColor":69},234011,"gu-mu-han-qin-ye-yi-ming-234011","古木寒禽页","夜色阴沉，古树寒，雪盖亭竹，野鸭低头睡，乌鸦因寒冷飞到枝头,气氛凝重。 凄凉而寒冷。 笔身工整细腻，形体刻画生动，构图密密麻麻。 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Edge","以赭色排线晕染铺陈光影，疏密交错的笔触勾勒出古木苍劲肌理，繁叶层叠簇拥将浓荫铺满画幅。留白的流云柔化天际，为沉郁林景晕开透气的轻盈。\n\n郊野浓荫隔绝暑热，林间空地的旅人或卧或坐，舒展松弛的姿态消解山野荒寂，将闲逸慵懒揉入清旷林景。以素描的质朴质感，铺展出避世偷闲的悠然意趣，将乡野漫游的松弛心境，藏进每一缕枝叶纹路与憩息身影之中。",[13169,7254,13183,5888,11416,7,914,10069,13194,13195,5349],"云朵","林间聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf242e51e3e60ea81e6c8b4cc9185fd1.jpg",[],{"id":13199,"slug":13200,"title":13201,"dynasty":5755,"author":306,"museum":20,"description":13202,"tags":13203,"thumbUrl":13208,"material":355,"size":356,"collection":41,"collections":13209,"showCount":201,"zanCount":45,"manualWeight":45,"mainColor":69},288777,"remigio-cantagallina-a-view-of-a-village-with-figures-yi-ming-288777","Remigio Cantagallina--A View of a Village with 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